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THE 

SILENT 
READERS 


TEACHERS'  MANUAL 

4th,  5th  and  6th 

READERS 


LEWIS  and 
ROWLAND 


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THE 

SILENT    READERS 

BY 

WILLIAM  D.  LEWIS,  A.M.,  Pd.D.,  Litt.D. 

» < 

DEPUTY  SUPERINTENDENT  DEPARTMENT   OF   PUBLIC   INSTRUCTION, 
COMMONWEALTH    OF   PENNSYLVANIA 

AND 

ALBERT  LINDSAY  ROWLAND,  A.M.,  Ph.D. 

DIRECTOR  BUREAU  OF  TEACHER  TRAINING  AND  CERTIFICATION,  DEPARTMENT  OF 
PUBLIC  INSTRUCTION,  CQMMONWEALTH  OF  PENNSYLVANIA 

ILLUSTRATED  BY 

FREDERICK  RICHARDSON 


TEACHERS'  MANUAL 

FOR 
FOURTH,   FIFTH   AND   SIXTH    READERS 


THE  JOHN  C.  WINSTON  COMPANY 

CHICAGO  pTTxT  Apjpr  pTTT A  TORONTO 

DALLAS  PHILAD11.LPHIA    ^^N  FRANCISCO 


^A.>..r 


Copyright  1922,  by 
THE  JOHN  C.  WIN^STON  CO. 

Entered  at  Stationers'  Hall,  London 


All  Rights  Reserved 


EDUCATION  DEPT, 


P— G-: 


TO  THE  TEACHER 

TEACHING  SILENT  READING 

What  is  Silent  Reading?  Children  will  tell  you  that  it  is 
^^reading  silently^'  or  ^^reading  to  yourself^^  or  ''just  reading'^; 
and  many  teachers  with  much  of  the  same  idea  in  mind  will  give 
books  to  a  class  of  children  and  say,  ''Read  this  story '\  or  ''Read 
pages  179  to  200 '\  and  hope  that  the  pupils  will  read  quietly  and 
not  interfere  with  their  work  with  another  class!  Under  these 
circumstances,  watch  the  individual  pupils  as  they  read.  Some 
smile  or  cry  over  the  appealing  parts  and  tell  you  with  enthusiasm, 
"It  is  a  good  story'';  others  read  along  over  the  words,  but  their 
faces  show  no  signs  of  appreciation ;  a  few  seem  to  be  pronouncing 
words  silently,  or  mechanically  plodding  along  word  by  word; 
frequently  a  poor  reader  becomes  discouraged  and  closes  the  book. 

In  these  contrasting  habits  is  the  key  to  what  silent  reading 
really  is.  The  children  who  show  appreciation,  enthusiasm  and 
love  for  reading  have  discovered  somewhere  how  to  read  silently. 
They  know  how  to  get  the  thought  from  the  printed  page;  the 
words  mean  pictures,  actions,  sounds — real  things  to  them.  They 
have  the  ability  to  grasp  the  printed  phrases  and  their  meanings. 
They  know  how  to  "read  between  the  lines,''  when  to  skim  the 
repetitions  and  non-essentials,  and  when  to  move  slowly  taking 
in  every  shade  of  meaning.  Surely  this  is  the  kind  of  reading  that 
gives  pleasure  and  knowledge  and  information.  It  is  real  silent 
reading. 

Training  in  Silent  Reading.  Children  can  be  taught  to  get 
the  thought  from  the  printed  page;  in  fact  this  skill  must  be 
developed;  it  does  not  just  "come"  from  many  tiresome  oral 
reading  lessons  or  from  "just  reading  out  of  a  book".  Silent 
reading  requires  specific  training. 

Specific  Training:  Different  Types  of  Material.  Children 
generally  read  stories  easily,  but  do  not  show  the  same  ability 

(iii) 

Ivi249339 


when  they  read  geography,  history,  or  arithmetic.  The  difficulty 
is  probably  one  of  understanding  and  following  directions.  There- 
fore special  kinds  of  training  must  be  needed  to  develop  different 
types  of  comprehension.  Evidently  different  reading  methods 
and  more  special  training  are  needed  for  studying  certain  subjects 
than  for  others. 

Different  Reading  Purposes.  Perhaps  the  most  important 
principle  of  teaching  silent  reading  is  to  get  the  child  to  realize  the 
purpose  for  which  he  is  reading.  When  he  has  determined  the 
purpose  of  his  reading  he  naturally  assumes  an  appropriate  atti- 
tude toward  the  reading  material.  In  reading  poetry,  an  older 
person  reads  to  enjoy  the  swing  of  the  rhythm;  in  reading  the 
newspaper  he  aims  to  seize  upon  a  few  ideas  or  statements  and 
to  skim  the  columns,  taking  what  he  desires  as  he  goes.  When 
reading  an  essay,  or  a  sermon,  he  reads  slowly,  carefully,  ponder  • 
ing  over  the  words  and  phrases  as  the  thoughts  present  them- 
selves. So  the  child  must  determine  whether  he  is  reading  foi 
pleasure,  for  information  or  for  instruction.  And  having 
determined  his  purpose  he  must  pursue  the  method  of  reading  best 
suited  to  accomplish  the  end. 

When  Should  Training  in  Silent  Reading  Commence?  In 
the  first  grade.  From  the  beginning,  reading  must  satisfy  the 
desire  to  get  meaning  and  interesting  experiences  from  the  printed 
pages;  the  words  must  have  thought  back  of  them.  Reading  in 
the  first  grade  must  never  be  the  mere  pronouncing  of  words. 
When  such  words  as  ''run''  or  ''hop''  are  written  on  the  board  as 
commands,  the  pupil  must  grasp  the  meaning  before  he  can 
execute  the  command.  In  other  words,  the  power  of  thought 
getting  must  be  developed  throughout  the  primary  grades;  in 
the  intermediate  grades  this  training  may  be  focused  on  broader 
experiences  and  the  interpretation  of  thoughts  from  textbooks, 
while  in  the  upper  grades  skill  is  developed  in  analyzing,  organ- 
izing and  comparing  relative  vahies  of  ideas  in  various  reading 
materials. 

How  to  Use  the  Manual.  The  Manual  should  be  used  as  a 
course  of  studv  in  silent  reading  for  grades  four,  five,  and  six.     It 

(iv) 


aims  to  give  to  the  teacher  studying  the  problem  a  vision  of  what 
silent  reading  involves,  and  it  tries  to  stimulate  a  spirit  of 
enthusiasm  for  the  development  of  this  reading  skill. 

It  is  more  than  a  manual  for  ^'The  Silent  Readers''  because 
it  extends  the  work  beyond  these  textbooks  into  every  phase  of 
classroom  teaching,  making  the  pupils  not  only  self-reliant  but 
also  eager  to  broaden  their  reading  experience. 

It  suggests  and  emphasizes  teaching  methods  and  gives 
definite  material  and  procedures  to  illustrate  these  methods.  The 
teacher  should  grasp  the  spirit  of  the  manual,  follow  it  as  a  course 
of  study,  and  use  the  material  in  well-selected  books  to  develop 
step  by  step  the  abilities  or  results  that  may  be  looked  for  in 
her  special  grade. 

Then,  and  this  is  of  paramount  importance,  she  should  aim 
to  see  that  the  methods  pointed  out  here  carry  over  to  all  reading, 
including  that  done  outside  the  classroom. 


(V) 


CONTENTS 

To  THE  Teacher iii 

Method  and  Material 1 

Summaries  of  Fourth,  Fifth,  Sixth  Readers 3 

Suggestions  as  to  Method 10 

Reading  for  Appreciation  oh  Entertainment.  .  . 15 

Learning  to  Grasp  the  Plot  of  a  Story 27 

Dramatization 37 

Reading  Poetry  for  Appreciation  or  Entertainment  43 

Acting  for  Movies 48 

Reading  for  Instruction 50 

Reading  for  Information 60 

Supplementary  Material 65 

Index  to  Contents  of  the  Readers 68 


(vi) 


THE  SILENT  READERS 

LEWIS  AND  ROWLAND 

METHOD   AND  MATERIAL 

I.  Method.  An  efficient  program  for  the  teaching  of  silent 
reading  should  include  : 

1.  Carefully  selected  material. 

2.  Regular  and  well-developed  lessons,  and  drill  exercises. 

3.  Standard  tests  for  measuring  results. 

Standard  tests,  like  those  mentioned  on  page  x  of  the  preface 
of  each  volume  of  the  Silent  Readers,  should  be  given  at  least  at 
the  beginning  and  the  close  of  the  term,  and  the  results  com- 
pared. Quick  drill  exercises,  or  speed  tests,  should  be  given 
throughout  the  term.  Classes  should  be  divided  into  groups 
according  to  results  of  such  tests;  the  high  group,  the  middle 
group,  the  low  group,  and  the  instruction  should  be  based  on 
group  needs.  In  the  middle  and  low  groups,  especially,  the 
instruction  should  be  largely  individualized. 

Types  of  poor  readers  and  remedies: 

Types  Remedies 

1.  Lazy,  purposeless  readers.      Point  out  purpose  by  means  of  set 

questions  or  problems,  etc. 

2.  Conscientious,       plodding    Train  to  skim,  to  get  main  facts, 

word  by  word  readers.  to  avoid  details. 

3.  Timid,  nervous,  uncertain     By    the   use     of    easier    reading 

readers.  material  seek  to   build  up  con- 

fidence. 

4.  Slow  readers  handicapped    Bad  habit  can  only  be  corrected 

by  lip  movements.  by  individual  help. 

There  is  one  difficulty  common  to  most  poor  readers:  they 
have  no  standards  for  ^udging  the  effectiveness  of  their  reading, 

1 


nor  any  clear  sense  of  relative  values.  Individual  scores,  and 
their  relative  standing,  therefore,  are  important  facts  for  the 
children  as  well  as  for  the  teacher.  The  slow  need  individual 
attention,  special  help,  and  training.  After  they  have  received 
such  help  for  an  extended  period,  do  they  show  any  improvement? 
Let  the  children  discuss  such  questions  as: 

What  do  we  mean  by  **  speed  ^'  in  reading? 

Do  we  have  the  same  speed? 

Why  do  we  wish  to  increase  our  speed  in  reading? 

Shall  we  ever  all  read  at  the  same  speed? 

Why  is  it  worth  while  to  try  to  read  faster? 

II.  Material.  In  this  Manual  the  material  from  the  Readers 
is  divided  according  to  type  of  reading  and  the  purposes  for  which 
we  read. 

1.  Reading  for  appreciation  or  entertainment 

(a)  An  explanation  concerning  this  purpose. 

(6)  Material  and  procedures  for  Fourth,  Fifth,  Sixth 

grades, 
(c)   Suggestions  as  to  method  in: 

1.  Thought  drill  exercises. 

2.  Stories    (Dramatizations   and   Acting   for 

the  Movies). 

3.  Poems. 

In  a  similar  way  is  divided  the  material  suitable  for  each  of 
the  following  purposes: 

2.  Reading  for  instruction. 

3.  Reading  for  information. 

4.  Supplementary  material.     This  should  test  abiUty  to 

follow  printed  directions. 

III.  Results  to  be  looked  for.  The  pupils  should  realize  that 
they  read  for  different  purposes : 

1.  For  appreciation  or  entertainment. 

2.  For  instruction. 

3.  For  information. 

2 


And  to  a  certain  extent,  fourth,  fifth  and  sixth  year  pupils 
should  be    able  to  determine  the  purpose  for  which  they  read. 

They  should  feel  their  increasing  power  to  enjoy  fables,  fairy 
tales,  poetry;  to  satisfy  their  natural  curiosity  about  people  and 
places;  to  follow  printed  directions. 
In  Fourth  Grade: 

1.  Ability  to  reproduce  the  thought. 

2.  Ability  to  divide  the  material  into  units  of  thought. 

3.  Ability  to  find  the  central  theme. 

4.  Ability  to  understand  written  and  printed  directions. 

5.  Ability  to  solve  problems  presented  and  to  find  new 

problems. 

6.  Ability  to  read  wdth  proper  speed. 

7.  Ability  to  handle  books  with  care  and  to  use  them 

intelligently. 
For  Fifth  Grade  add: 

8.  Ability  to  make  an  outline. 

9.  Ability  to  use  Table  of  Contents  and  the  Index  of  a 

book. 
For  Sixth  Grade  add: 

10.  Ability  to  organize  material  as  a  necessary  study  habit. 

11.  Ability  to  analyze  thought  of  articles  read. 

SUMMARIES  OF  FOURTH,    FIFTH,  SIXTH 
READERS 

Plan  of  Work  for  the  Year 
In  the  following  summaries  the  material  in  the  Readers  is 
arranged  in  such  a  way  as  to  give  practice  in  each  kind  of  reading 
each  month.  This  order  should  be  followed  for  a  satisfactory 
development  of  reading  skill  in  a  variety  of  reading  material. 
Provision  is  made  for  approximately  two  lessons  a  week  or  from 
six  to  eight  lessons  a  month. 


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SUGGESTIONS  AS  TO  METHOD 

Preliminary  Drill  Exercises  for  Fourth,  Fifth,  and  Sixth 

Grades.       Illustrations    Taken    from    the    Fourth 

Reader.     Similar  Exercises  Can  Be  Selected 

FROM  THE  Other  Readers 

Picture  Words 

Aim. 

To  illustrate  to  the  pupils  that  printed  words  paint  pictures. 
This  is  merely  a  teaching  device  and  is  the  simplest  way  to  stim- 
ulate thought-getting  from  the  printed  page.  By  means  of  practice 
and  repetition,  it  develops  in  the  child  a  quick  comprehension  of 
ideas. 
Method. 

How  many  children  like  ^Ho  pretend'^? 

We  are  going  ^Ho  pretend"  to  paint  pictures.  For  our  tools 
we  shall  have  neither  brush  nor  canvas;  but  words  from  our  books. 
Certain  words  have  the  magic  power  of  painting  pictures. 

Look  quickly  on  page  134  (Fourth  Reader)  at  the  first 
sentence.     Eyes  up! 

What  picture  do  you  see?     (A  meadow  carpeted  with  flowers.) 

Which  word  makes  the  picture  stand  out  or  makes  it  vivid? 
Carpeted. 

Contrast  with  '^full  of",  ''many",  two  weak  expressions, 
while  "carpeted"  expresses  the  idea  of  many  flowers  close  together 
forming  a  colored  design. 

Read  on.     What  colors  in  the  picture?     Eyes  up! 

The  colors  in  the  picture  are  white  as  snow,  yellow  as  gold, 
blue,  soft  purple  (more  expressive  than  merely  purple). 

What  else  do  you  see?  The  warm  sun  softens  the  picture 
(contrast  with  a  snow  scene);  the  dews  brought  freshness  and 
contentment.    (Contrast  with  unrest  and  motion  of  a  windy  scene.) 

Read  the  second  paragraph.    Eyes  up! 

10 


A  new  figure  in  the  picture  (the  butterfly).  How  is  he 
painted? 

He  alights  daintily  on  the  petals  of  a  daisy.  Note  the  color 
scheme. 

During  this  discussion  the  teacher  should  write  on  the  board 
(without  comment)  the  expressive  words  that  make  the  picture 
stand  out.     Something  hke  this: 

Meadow  carpeted  with  flowers. 
Snowy  daisies. 
Golden  buttercups. 
Soft  purple  violets. 

Sun  shone  warm,  then  soft  dews  to  cool  them. 
White  and  yellow  butterfly. 
Alighting  daintily  on  the  petals. 
He  talked  with  the  daisy. 
Which  group  of  these  words  paints  the  best  picture? 
Underline  the  best  picture  words. 

Watch  for  "picture  words ^^  in  a  story.    A  good  author  always 

tries  to  make  you  see  pictures.      Close  your  eyes  and  see  this 

picture  that  has  been  so  carefully  painted  for  you  by  these  words. 

For  future  practice  lessons  try  the  first  paragraphs  on  page 

209,  page  165,  page  150. 

Encourage  pupils  to  bring  to  class  expressive  short  paragraphs 
that  "paint  pictures". 

In  the  fourth  grade,  since  it  seems  to  kill  the  interest,  avoid 
using  the  word  "description''.  In  oral  and  written  composition 
urge  the  pupils  to  use  expressive  words  or  "picture  words". 
They  like  to  do  this. 

Sound  Words 
Aim. 

To   illustrate   to   the   children   that   printed   words   convey 
distinct  sound  impressions  to  the  mind.     Good  sound  words  make 
you  hear  the  sound. 
Method. 

Place  the  following  on  the  blackboard: 

11 


sighs 

whines 

shouts 

cries 

sobs 

howls 

The  wind  whispered  among  the  leaves,  it  rattled  my  shutters 
and  fluttered  the  curtain  at  my  window. 

Let  some  pupil  underline  the  words  that  express  sound. 
Each  child  with  paper  and  pencil  try  to  make  a  list  of  all 
sounds  made  by  the  wind. 
The  wind 

moans  roars 

groans  whistles 

shrieks  sings 

In  same  fashion,  list  sounds  naade  by  a  dog,  the  rain,  or  a 
brook. 

Contrast  pictures  as  found  in  two  paragraph?-; '  one  quiet  and 
peaceful,  the  other  expressing  action  and  strife. 

1.  I  Hstened  to  the  murmur  of  a  little  brook,  the  chirp 

of  a  robin,  and  the  loud  caw  of  a  crow.  The  trees 
seemed  to  whisper  to  me,  and  from  the  distant 
meadow  I  heard  the  gentle  lowing  of  the  grazing 
cattle. 

2.  After  the  storm,  the  brook  rushed  by,  the  sharp  shrill 

call  of  the  crow  sounded  from  the  tree  tops;  I 
heard  the  howl  of  the  dogs  pursuing  the  bellowing 
cattle.  Not  far  away  sounded  the  shrill  chattering 
of  the  squirrels. 
On  page  3,  paragraph  2,  what  words  or  groups  of  words  make 
you  hear  sounds? 

Also  the  following  pages  121,  123,  124. 

In  the  story,  on  page  15,  substitute  expressive  '* sound"  words 
for  the  word  ^'said"  as:  Shrilly  cawed,  hooted  the  owl,  etc. 

Action  Words 
Aim. 

To  call  to  the  child's  attention,  words  that  are  expressive  of 
action.     This  group  is  readily  and  easily  grasped. 

Method. 

Some  words  express  action  so  vividly  that  we  can  see  the 
picture  before  our  very  eyes,  just  as  when  we  go  to  the  moving 
pictures. 

12 


Read  this  from  the  blackboard  quickly. 

The  storm  swept  over  the  village.     The  lightning  snapped 

and  the  thunder  crashed  while  the  wind  tore  up  the  trees  and 

shook  the  houses.     Everybody  fled  in  terror. 

Close  your  eyes.     How  many  saw  the  picture? 

Learn  to  observe  forceful  action  words.     For  example, 

'^the  horse  dashed  down  the  road"  is  more  forceful  than  '^the 

horse  ran  down  the  road. 

Make  a  list  of  the  '^action"  words  in  the  poem  '^The  Wind" 
on  page  121. 

During  reading  periods  and  in  the  oral  and  written  composi- 
tion periods  encourage  the  pupils  to  look  for  picture  words,  sound 
words,  action  words.  The  best  authors  use  words  that  express  the 
clearest  picture,  the  keenest  sound,  the  suitable  action. 

These  preliminary  drills  awake  in  the  pupil  the  thought- 
getting  idea.  He  is  now  better  prepared  not  only  to  search  out, 
or  dig  out,  leading  thoughts,  but  also  to  realize  that  the  story  is 
well-written  because  of  its  meaningful,  expressive  language,  as 
embodied  in  the  words  and  contrasts. 

Words  are  messengers.  They  carry  meaning.  The  printed 
page  has  a  message  for  you.     What  is  the  message? 

When  you  are  able  to  grasp  the  meaning,  or  to  catch  the 
message  quickly,  you  are  a  good  reader. 

How  fast  can  you  read? 

When  you  run  a  race  do  some  children  run  as  fast  as  others? 

Have  an  outdoor  race  and  divide  the  class  into  three  groups 
according  to  their  speed,  or  better,  let  the  children  do  this 
themselves. 

Make  a  couple  of  children  responsible  to  you  for  the  results. 
After  results  are  given  to  you,  announce  that  we  can  also  test 
speed  in  getting  a  message  from  printed  words. 

Give  some  well-known  test  (Monroe,  Courtis,  etc.). 

According  to  results,  divide  the  class  into  groups. 

Show  class  averge. 

The  slower  group  is  stimulated  to  raise  its  average  in  order 
to  raise  the  standard  of  the  class. 

13 


After  the  test  and  a  discussion  of  the  graphs  and  results,  the 
pupils  will  be  able  to  understand  the  interpretation  of  silent 
reading  on  page  1  of  ^'The  Silent  Reader".  Since  much  of  the 
success  of  this  work  depends  on  the  individual  effort,  be  careful 
to  let  each  pupil  feel  the  aim  of  the  lessons  through  the  reading 
of  tljis  little  introduction. 

There  are  three  rules  the  teacher  should  follow: 

1.  Let  the  individual  do  the  work. 

2.  Watch  eyes  and  faces  to  see  registered  there  apprecia- 

tion of  the  article  read. 

3.  Do  not  depend  on  intuition  to  test  the  individual 

growth  or  class  progress;    but  test  from  time  to 

time  the  speed  and  accuracy  by  means  of  simple 

drill  exercises  and  standard  tests. 

"Silent  Reading''  can  be  taught  by  the  teacher  who  follows 

a  systematic  program;  and  speed  and  accuracy  can  be  learned  by 

the  pupil  making  the  effort  under  carefully  thought  out  teaching 

methodSf 


14 


READING  FOR  APPRECIATION  OR  ENTER- 
TAINMENT 

Fourth,  Fifth,  Sixth  Readers 

(a)  Explanation. 

All  children  love  to  read  stories.  Perhaps  they  find  in  stories 
experiences  and  opportunities  which  they  dream  of,  and  which 
circumstance  has  denied  them;  at  any  rate,  they  are  able  to  give 
their  fancy  full  play,  and  the  result  is  a  delightful,  childlike  sim- 
plicity or  belief  in  the  marvelous.  Since  the  real  value  of  a  story 
is  in  the  ^ay  it  makes  you  feel,  surely  the  best  test  of  a  child's 
understanding  and  appreciation  of  a  story  is  to  let  him  ^HelP' 
you  how  he  feels,  or  better  yet,  encourage  him  to  ''show"  you 
how  he  feels.  Therefore,  in  the  following  outline  much  attention 
has  been  given  to  dramatization,  acting  for  the  movies,  and 
discussions  about  the  spirit  of  the  story  and  how  it  makes  you  feel. 
Q))  Material 

Fables,  fairy  tales,  folk  tales,  myths,  stories  of  adventure  and 
of  real  life,  poems. 
(c)  Procedure. 

To  stimulate  and  develop  the  thought-getting  power: 

1.  Read  silently  and  quickly. 

2.  Read  with  purpose: 

(a)  Bring  a  problem  to  the  reading. 

(6)  The  reading  may  suggest  a  problem. 

(c)   A  new  problem  may  grow  out  of  the  reading. 

3.  Test  speed  by  means  of  speed  drills  and  by  a  com- 

parison of  the  individual  scores. 

4.  Test  comprehension  by  means  of: 

(a)  Facial  expression. 
(h)  Dramatization. 

(c)   The  pupiFs  ability  to  tell  stories  to  another 
15 


child  or  to  the  class,  to  another  class,  or  to 
the  assembly. 

(d)  The  pupiFs  ability  to  discuss  the  plot  of  the 

story,  the  hero,  or  the  leading  characters,  the 
most  interesting  scene,  the  climax. 

(e)  The  pupiFs  abihty  to  make  an  outline  of  the 

narrative;   to  divide  the  story  into  headings 

or  topics. 
(/)  The  pupiFs  ability  to  answer  problems  set  before 

him,  to  suggest  new  problems,  or  to  answer 

thought-provoking  questions. 
(g)  The  pupiFs  ability  to  read  orally  a  small  thought 

unit.     Is  the  thought  back  of  the  words? 
5.  Test  appreciation  of  poetry  by  means  of: 
(a)  Facial  expression. 
{h)  PupiFs   ability  to  see    ^'pictures"   or  to  hear 

*^ sounds"  expressed  in  the  poems, 
(c)   PupiFs  abihty  to  understand  the  thought  of  the 

poem  and  to  feel  the  rhythm  and  beauty  of 

the  lines, 

FOURTH  READER 

Stories  for  Appreciation  or  Entertainment 
Helping  the  Child  to  Make  Headings 
The  ability  of  the  child  to  grasp  the  main  facts  of  the  story 
may  be  tested  by  asking  him  to  write  titles  for  paragraphs  and 
headings  or  topics  for  parts  of  the  story.  If  these  headings  are 
written  quickly  and  suggest  only  the  important  ideas,  there  will 
be  no  danger  of  over-analysis.  These  exercises  should  not  detract 
from  the  spirit  of  the  story,  they  should  serve  rather  as  a  means  of 
bringing  out  the  big  ideas  in  the  narrative,  and  so  should  system- 
atize the  child^s  thoughts. 

For  fourth  grade  children  explain  that  the  big  facts  in  a 
story  are  like  the  signposts  on  the  roads.  They  occur  at  more  or 
less  regular  intervals  during  a  journey  and  point  the  way  to  the 

16 


place  beyond.  It  Is  not  necessary  to  have  them  too  near  together; 
but,  if  they  are  too  far  apart,  there  is  danger  of  the  traveler  losing 
his  way.  Children  who  are  fortunate  enough  to  have  taken  trips 
in  automobiles  will  know  exactly  what  you  mean. 

For  example:  ''The  Great  White  Feather'',  page  62. 

The   first   sign   might   be   marked 


A  RACE 


the    next, 


the  third, 


THE  GIANTS  WIN 


RESCUE  OF  GRANDSON 


These  posts  come  near  together  in  the  story;   but  are  necessary 
to  the  unfolding  of  the  story.     The  fourth  post, 


THE  PROPHECY 


is  further  on. 

Keep  directions  concise.  You  cannot  print  too  much  on  the 
signboard.  If  one  of  these  posts  is  omitted,  you  lose  your  way  on 
the  road,  and,  if  one  of  the  big  facts  of  the  story  is  left  out,  a 
person  unfamiliar  with  this  story  would  not  understand  it. 

Digging  the  big  ideas  out  of  a  story  is  difficult  for  fourth 
year  children.  This  device  helps  them  to  visualize  the  meaning. 
After  several  practice  lessons,  they  will  be  able  to  select  topics 
easily  and  rapidly. 

THE  GREAT  WHITE  FEATHER,  page  62 
The  Problem. 

1.  Make  a  list  of  the  important  happenings  to  be  used  as  a 
guide  to  tell  the  story.     Lists  should  be  placed  on  blackboard. 

2.  Speed.     Raise  hands  when  through. 

17 


The  Solution. 

The  sign  posts  in  the  story  are  as  follows: 
The  medicine  man  runs  a  race. 
The  giants  win  and  demand  the  children. 
The  old  man^s  rescue  of  his  grandson. 
The  prophecy. 
The  white  feather. 
The  dream — The  wooden  man. 
Chacopee's  great  strength. 
He  digs  up  the  wooden  man. 
'     The  wooden  man  was  a  god  the  giants  had  stolen. 
The  wishing  pipe. 

The  mission  and  the  advice,  "Go  and  be  wise''. 
Chacopee's  race. 

His  meeting  with  the  wise  giant. 
The  wise  giant  and  his  dog  set  out  for  the  north. 
The  two  daughters  of  a  great  chief. 
The  dog  and  the  younger  sister. 
The  giant  and  the  elder  sister. 
The  dog  changes  into  a  young  man. 
The  real  chief  of  the  White  Feather. 
The  giant  changes  himseK  into  a  wolf. 
Chacopee  marries  the  chief's  daughter. 

A  BRAVE  LITTLE  FRENCHMAN,  page  204 
Aim. 

To  find  main  points  of  an  interesting  narrative. 

The  Problem. 

1.  Read  for  interest. 

2.  Make  a  list  of  important  facts  or  plan  the  signposts  for 
the  story. 

3.  Speed. 

The  Solution. 

1.  French  troops  enter  village  between  France  and  Germany. 

2.  The  captain  seeks  information. 

18 


3.  Pierre  offers  to  help  the  captain. 

4.  He  is  captured  by  the  German  soldiers. 

5.  The  prison. 

6.  His  escape. 

7.  He  gives  the  captain  the  needed  information. 

Discussion. 

Do  the  signposts  (or  the  facts)  point  to  the  main  roads? 

Discuss  the  questions  at  end  of  story.  This  discussion  will 
bring  out  leading  facts  which  may  be  checked  off  on  pupils'  lists. 
Same  type  lesson — "Tom's  Trip  on  a  Cloud/'  page  242. 

To  Show  the  Child  How  to  Make  an  Outline 
The  making  of  even  a  simple  outline  is  perhaps  one  step  more 
difficult  than  the  writing  of  headings.  It  involves  thinking  of  the 
story  in  terms  of  "The  Introduction,"  "The  Heart  of  the  Story" 
or  "The  Body  of  the  Story",  and  "The  Conclusion"  or  "The 
Climax".  It  is  not  necessary  that  the  child  know  any  technical 
terms;  what  he  does  know  is,  that  the  story  begins,  it  weaves  a  plot, 
it  ends,  and  that  at  the  end  of  an  interesting  story  there  is  generally 
a  surprise  or  a  climax.     It  would  look  like  this: 

1.  The  introduction  or  the  beginning. 

2.  The  heart  of  the  story. 

3.  The  surprise  at  the  end. 

Under  each  of  these  divisions,  or  in  each  of  these  boxes,  are 
found  several  important  facts  that  are  necessary  to  the  framework 
of  the  story.  Writers  build  a  story  as  carpenters  would  a  frame 
house.  What  do  you  think  the  framework  of  this  story  would 
look  like? 

To  illustrate: 

A  LITTLE  SOLDIER  OF  FRANCE,  page  7 

Ask  the  children  to  read  the  story  through  quickly. 

When  most  of  the  children  have  finished,  ask  them  to  write 
an  outline  of  the  story  trying  to  make  the  big  facts  stand  out. 

A  discussion  might  follow  this  work,  and  the  outline  as  finally 
worked  out  on  the  blackboard  might  be  as  follows; 

19 


1.  The  introduction. 

(a)  The  people — Marcel  and  Leon,  orphans. 

(h)  The  place — A  French  village. 

(c)   A  description  of  the  children  and  their  parents: 

1.  The  mother's  dying  message  to  Leon. 

2.  Leon's  care  of  Marcel. 

2.  The  German  Raid. 

(a)  What  the  Germans  did  in  the  peaceful  village. 
(6)  Leon  at  work.     Marcel  asleep.     Leon  goes  away 
on  an  errand.     His  return. 

(c)  The  orphanage  burns  and  Leon  runs  to  rescue 

Marcel. 

(d)  His  escape  to  the  woods  with  Marcel. 

3.  The  coming  of  the  big  American. 

(a)  The  soldier  picks  Leon  up  and  hugs  him. 
(h)  Kisses  and  carries  Marcel. 

(c)   The   American    is    proud   to   know    Leon    and 

declares  he  ought  to  have  the  country's  cross 

of  honor. 

Recitation  by  topics.    Assign  the  five  topics  at  end  of  story,  on 

page  12,  to  five  different  children.     The  first  two  topics,  *'How 

Leon  came  to  have  charge  of  Marcel",  and  ^^How  Leon  took  charge 

of  Marcel",  should  cover  the  facts  included  in  the  introduction  of 

the  story.     Let  the  children  feel  that  all  these  facts  are  necessary 

for  the  future  development  of  the  story. 

The  next  two  topics,  ''Where  Leon  and  Marcel  were  when  the 
Germans  came"  and  ''How  Leon  went  back  and  got  Marcel," 
should  include  all  facts  in  the  body  of  the  story  under  the  heading 
"The  German  Raid". 

The  last  topic  should  include  all  facts  in  the  climax  or  "The 
Coming  of  the  American". 

The  children  ought  to  be  led  "to  sense"  the  three  parts  of 
this  simple  story.  If  they  have  difficulty  in  doing  this,  make  a 
blackboard  outline  quickly  by  means  of  rapid  questions,  and  ask 
the  class  to  keep  an  eye  on  the  outline  and  check  up  as  each  child 
gives  his  topical  recitation,    After  the  recitation,  discuss  with  the 

20 


class  the  ability  of  the  speaker  to  cover  the  main  points  of  the 
story. 

Another  method  of  teaching  comprehension  is  to  test  the 
child^s  ability  to  tell  stories,  to  discuss  them,  and  to  interpret  the 
characters. 
To  illustrate: 

WHY  THE  MOON  CHANGES,  page  74 
Read  the  problem  and  the  story. 
Discussion. 

Have  you  decided  why  the  moon  is  so  changeable? 
Let  a  pupil  tell  the  class  about  each  of  the  following: 
The  tired  blacksmith. 
The  coming  of  the  magician. 
The  blacksmith^s  wish. 
The  blacksmith  changed  into  four  things: 

1.  A  great  rock  on  the  mountain  side. 

2.  A  stone-cutter. 

3.  The  sun. 

4.  The  moon. 

Because  the  blacksmith  was  so  changeable,  the  moon  changes. 

With  which  change  would  you  have  been  satisfied? 

Do  you  know  any  changeable  people? 

Do  you  like  this  story?     Why? 

Which  part  is  the  most  interesting?     Why? 

What  makes  the  story  exciting? 

This  is  an  excellent  story  for  re-telling  to  younger  children 
or  to  another  class.  Urge  the  class  to  notice  the  skill  with  which 
the  story-teller  brings  out  the  contrasts  in  the  different  existences. 
The  life  of  the  rock  on  the  pleasant  mountain  is  a  good  picture. 
(The  soft  breezes  blew,  the  trees  whispered  softly,  the  pretty  bird 
came.) 

The  life  of  the  stone-cutter: 

Rough  ground  which  blistered  his  feet. 
Many  stones  in  sunny  places  and  sun  was  hot. 
21 


His  life  as  the  sun: 

A  great,  round,  yellow  ball  of  fire. 
Rode  high  in  the  heavens. 
Gave  Ught  and  heat  to  all  the  earth. 
He  felt  very  warm  himself. 
His  life  as  the  moon: 

He  felt  cold.  ''I  am  freezing,''  he  said- 
Try  the  telling  of  this  story  by  relays,  that  is,  let  one  child 
commence  the  story,  let  the  next  take  up  the  narrative  of  the 
blacksmith's  Hfe  as  a  rock  on  the  pleasant  mountain;  the  next, 
his  life  as  a  stone-cutter;  the  next  child  his  life  as  the  sun,  and  the 
last  child  may  finish  the  story. 

The  following   stories  may   be   tested   by  means   of  these 
methods: 

PAGE 

The  Debt 2 

A  Little  Soldier  of  France 7 

Cock-Alu  and  Hen-Alie ^ 15 

The  Great  White  Feather 62 

The  Red  Rubber  Ball 71 

Why  the  Moon  Changes 74 

The  Open  Gate 79 

Molly  Meets  the  Unwiseman 122 

The  Discontented  Cloud 145 

Finding  Treasure , 150 

The  Little  Maid  of  Norway 165 

The  Fountain  Angel 198 

The  Story  of  Joseph 216 

The  Stolen  Honey 94 

The  Hare  and  the  Tortoise 105 

Seeing  Things 107 

The  House  where  Goldilocks  Visited  the  Bears 110 

MoMOTARo's  Friends 116 

The  Tale  the  Zebras  Tell 119 

The  Butterfly  Who  Made  the  Flower  Happy 134 

How  THE  World  Came  to  an  End 161 

My  Friends  in  Misfortune 189 

A  Brave  Little  Frenchman 204 

Tom's  Trip  on  a  Dream  Cloud 242 

22 


FIFTH   READER 
Stokies  for  Appreciation  or  Entertainment 

Helping  the  child  to  make  headings.     Refer  to  Fourth  Grade, 
page  16  of  Manual. 
To  illustrate : 

The  following  stories  may  easily  be  divided  into  topics: 

PAGE 

How  A  Town  Was  Saved  by  a  Clock 36 

St.  Francis  and  the  Wolf 89 

The  People  of  the  Desert's  Edge 156 

These  topics  may  be  used  as  guides  and  helps  in  an  oral 
reproduction.  Ask  the  class  to  keep  an  eye  on  the  topics  and 
check  up  as  each  child  gives  his  topical  recitation.  After  the 
recitation,  discuss  with  the  class  the  ability  of  the  speaker  to  cover 
the  main  points  of  the  story. 

For  the  convenience  of  the  teacher,  the  following  outlines 
are  given.  They  suggest  the  points  that  should  be  covered  when 
discussing  the  main  topics.  These  outlines  should  not  be  given 
to  the  children ;  the  pupils  shauld  be  taught  to  grasp  the  necessary- 
details  under  the  main  topics  and  should  be  quick  to  realize  the 
omission  of  the  necessary  facts. 

HOW  A  TOWN   WAS   SAVED   BY  A  CLOCK,  page  36 

1.  The  keeper  of  the  gate: 

(a)  The  place — Basel,  Switzerland. 
(&)  The  keeper — an  old  man. 

(c)  His  duty — to  guard  gate  of  town  so  that  no  enemy  might 

enter. 

(d)  Suspected  traitors  within  town. 

2.  The  traitors^  plot: 

(a)  One  night  keeper  saw  shadows. 

(b)  Heard  whispered,  ^^When  clock  strikes  twelve '\ 

(c)  Knew  traitors  would  open  gate  to  enemies  at  midnight. 

3.  A  plan  to  save  the  town: 

(a)  No  time  to  get  help. 

23 


(h)  Keeper  climbed  stairs  of  tower  to  clock, 
(c)   One  long  note  heard. 
4.  The  failure  of  the  plot: 

(a)  Traitors  astonished — thought  they  had  slept  past  midnight. 
(h)  Dared  not  open  gate. 

(c)  Enemy  crept  away. 

(d)  Gate-keeper  honored  by  mayor. 

SAINT  FRANCIS  AND   THE  WOLF,  page  89 

1.  What  kind  of  a  man  St.  Francis  was: 

(a)  Wise,  kind,  loving,  helpful. 

(h)  Taught  others  to  be  good. 

(c)   Called  birds  and  animals  his  brothers. 

2.  What  harm  the  wicked  wolf  did: 

(a)  Killed  sheep. 

(6)  Attacked  travelers. 

(c)  Terrorized  the  people. 

(d)  People  asked  aid  of  St.  Francis. 

3.  How  St.  Francis  tamed  the  wolf: 

(a)  His  courage  in  presence  of 'fierce  beast. 
(6)  His  command:  '^Brother  Wolf,  come  hither.     I  command 
you  in  the  name  of  God  not  to  hurt  me", 

(c)  Wolf  lay  down  at  his  feet. 

(d)  St.  Francis  suggested  that  wolf  keep  the  peace  if  neighbors 

will  feed  him  all  his  life. 

(e)  Wolf  agreed  and  followed  St.  Francis  to  the  square. 

(/)  Amazed  people  promised  him  food — gave  thanks  that 
wild  beast  had  been  tamed. 

THE  PEOPLE  OF  THE  DESERT'S  EDGE,  page  156. 

1.  Hakim,  his  family,  and  his  friend: 

(a)  The  place — Algeria,  in  Africa. 

(b)  The  people — Arabs. 

(c)  Hakim  and  his  family — give  names  of  each. 

(d)  His  little  friend — Yussuf . 

24 


2.  The  soil  and  the  chmate  where  Hakim  Uved: 

(a)  Very  dry — a  Httle  rain  in  winter  only. 
(6)  No  streams  or  springs  for  miles, 
(c)   Always  warm. 

3.  How  each  of  the  animals  helped  the  Arabs: 

(a)  Camels: 

1.  Carried  heavy  loads. 

2.  Hair  woven  into  cloth. 
(6)  Donkeys — carried  loads. 

(c)  Sheep — gave  their  wool. 

(d)  Goats: 

1.  Skins  made  into  water  bottles. 

2.  Milk  and  meat  used  for  food. 

3.  Hair  woven  into  rope. 

4.  What  the  Arabs  ate — meat,  milk,  barley  bread,  little  water. 

5.  How  the  Arab  men  divided  their  work: 

(a)  One  always  at  the  camp. 
(h)  One  had  to  get  water. 

(c)  One  stayed  with  the  sheep. 

(d)  One  stayed  with  the  goats. 

(e)  One  stayed  with  the  camels  and  donkeys. 

6.  Hakim^s  school: 

(a)  With  the  men,  learning  to  care  for  the  animals. 
(h)  Father  taught  him  chapters  from  Koran  while  animals 
grazed. 

7.  How  Hakim^s  mother  made  his  clothes: 

(a)  Spun  wool  into  yarn. 

(6)  Wove  it  into  cloth. 

(c)   Made  white  wool  robe,  called  "burnoose"  for  Hakim. 

8.  How  she  made  a  rug: 

(a)  Her  yarn — black  and  white. 
(&)   How  she  dyed  white  yarn — red,  yellow,  green, 
(c)   Figures  of  camels,  men,  tents,  trees  woven  into  rug. 
{d)  Time  required  to  make  a  rug  seven  feet    long — very 
valuable. 

25 


9.  The  crop  of  barley: 

(a)  Planted  in  November  by  scratching  soil  with  pieces  of 

wood. 
(6)  Guarded  all  winter  by  Selim  and  his  family  while  other 

Arabs  had  gone  South. 

(c)  Others  returned  in  time  to  harvest  the  crop. 

(d)  Each  family  received  three  sacks  full  of  barley. 

10.  Making  bread: 

(a)  Barley  beaten  out  of  heads  by  the  women  with  sticks. 

(b)  Grain  ground  between  two  stones  of  the  hand-mill. 

(c)  Barley  loaf  made — a  great  treat. 


26 


LEARNING  TO  GRASP  THE  PLOT  OF  A 
STORY 

This  involves  thinking  of  a  story  in  terms  of: 

1.  The  Introduction,  or  The  Setting. 

(a)  Characters.     Who? 

(b)  Time.  When? 

(c)  Place.  Where? 

(d)  Necessary  circumstances. 

2.  The  Body,  or  The  Heart  of  the  Story.     (This  is  where 

the  action  begins.) 

3.  The  Conclusion — The  Climax.     (Usually  tells  result, 

gives  the  surprise.     It  is  generally  the  shortest 
part  of  the  story.) 
Ask  questions  similar  to  the  following: 

Who  are  the  leading  characters  in  this  story? 
Where  is  the  scene  laid? 

Why  is  it  necessary  to  mention  certain  details? 
What  makes  this  story  so  interesting? 
When  is  the  story  most  exciting? 
Did  the  writer  keep  you  excited  for  a  long  time? 
If  you  had  been  the  hero,  what  would  you  have  done? 
How  did  he  feel?     How  would  you  have  felt? 
Sometimes  a  plot  may  be  expressed  in  a  few  words;   it  may 
even  be  suggested  by  four  words.     For  practice  work,  ask  a  child 
to  weave  a  plot  around  four  suggestive  topics.     This  makes  an 
excellent  oral  English  lesson. 

1.  An  airplane — a  fort — a  man — a  dog. 

2.  A  submarine — a  sail  boat — a  boy — a  fisherman. 

3.  A  boy — a  girl — a  rowboat — a  dog. 

4.  A  man — a  dog — a  horse — a  forest. 

5.  A  boy — his  father — Indians — a  gun, 

27 


Almost  any  plot  can  be  boiled  down  to  a  few  main  characters 
and  places.  Stories  will  suggest  similar  stories.  For  instance, 
ROSE-BUD,  page  134,  suggests  weaving  a  plot  around  such 
words  as 

King     Queen     1^       /King  His  daughter 

Fairy    Princess/       \A  dwarf    Spinning  wheel 

Children  like  to  write  little  plays  suggested  by  stories.  Try 
writing  a  play  suggested  by  ROSE-BUD. 

After  the  pupils  have  had  practice  in  grasping  the  plot  of  a 
story,  they  find  it  easier  to  reproduce  the  story  and  to  tell  the 
consecutive  parts  with  clearness.  The  following  outlines  are  for 
the  eye  of  the  teacher  only,  although  if  the  pupils  fail  to  grasp 
necessary  thoughts,  the  teacher  should  develop  from  the  class  as 
a  whole,  an  outHne  of  the  misinterpreted  facts.  This  will  clear 
up  any  vague  points.  Sometimes  a  re-reading  is  necessary,  but 
pupils  should  form  the  important  habit  of  getting  accurate  thoughts 
during  the  first  reading. 

A  LITTLE  STORY  ABOUT  SOME  LITTLE  PEOPLE,  page  7 

1.  Setting: 

(a)  Who — two  little  mice,  Mr.  and  Mrs.  Johnny  Shortnose. 
{h)  When— July  4th. 
(c)  Where  they  were: 

1.  In  nursery  to  see  toy  soldier  parade. 

2.  In  street  to  watch  the  two-legged  giants  celebrate. 

2.  The  adventure  with  the  fire-crackers: 

(a)  Explosion  of  fire-crackers  directly  back  of  Mr.  and  Mrs. 

Shortnose. 
(6)  Both  fall  into  gutter.      Mr.  Johnny^s  whiskers  singed. 

Mrs.  Johnny's  nerves  ruined, 
(c)   Cross  street  to  square. 

3.  Mr.  and  Mrs.  Shortnose's  picnic: 

(a)  Cake  and  lemonade  being  served. 

(h)  Mr.  and  Mrs.  S.  sit  under  table — enjoy  crumbs. 

(c)  Mrs.  S.  falls  asleep. 

28 


4.  Johnny^s  adventure  with  the  lemon  peel: 

(a)  Mr.  J.  decides  to  climb  table  leg  and  peep  at  people. 

(5)  Reaches    for    delicious    lemon    peel — loses    his    balance. 

Falls  into  bucket  of  lemonade. 

(c)  Climbs  up  on  big  iceberg — calls  for  help. 

(d)  Mrs.  J.  wakens  and  runs  to  his  rescue — pulls  him  up  on 

strips  of  her  skirt. 

(e)  Both  fall  on  grass  exhausted — return  home  having  had 

too  much  excitement. 

THE  HUT  IN  THE  FOREST,  page  237 

1.  Introduction: 

(a)  The  hut  made  of  pine  logs  in  a  snow-covered  forest. 

(6)  The  people: 

1.  Maroosia. 

2.  Her  brother — Vanya — orphans. 

3.  Old    Peter,    the   grandfather,    who    cared   for   the 

children. 

2.  Peters  Return: 

(a)  His  greeting  and  welcome. 
(h)  Preparations  for  supper, 
(c)   Description  of  the  samovar. 

3.  What  they  had  for  supper: 

(a)  Black  bread. 

(6)  Soup  in  a  big  bowl. 

(c)  Tea  with  sugar. 

4.  The  Story  Hour: 

(a)  Children  request  a  new  story. 
(6)  Old  Peter  begins  the  story  called 

LITTLE  MASTER  MISERY,  page  241  ^ 

1.  The  peasant  brothers: 

(a)  One  cunning  and  rich — moves  to  town — gets  more  wealth. 
(h)  The  other — kind  but  very  poor. 

2.  The  poor  brother^s  troubles: 

(a)  Loses  his  money  and  his  crops. 

29 


(b)  Wife  and  children  hungry. 

3.  Decides  to  ask  aid  of  wealthy  brother: 

(a)  His  arrival  at  the  beautiful  house. 
(6)  Rich  brother  listens  to  sad  story. 

(c)  Promises  help  in  return  for  a  week's  hard  work. 

(d)  Poor  brother  receives  one  loaf  of  bread  and  an  invitation 

to  a  feast. 

4.  Poor  brother  returns  home — wife  disappointed  but  promises  to 

attend  the  feast. 

5.  The  feast: 

(a)  Rich  brother  ignores  poor  relatives. 
(6)  Poor  peasants  get  no  food, 
(c)   Start  home  hungry  and  sad. 

6.  The  homeward  journey: 

(a)  Poor  brother  starts  to  sing. 
(h)  Weak  voice  joins  him. 

(c)  Master  Misery  is  discovered. 

(d)  He  goes  home  with  the  peasants. 

7.  Master  Misery  as  a  guest: 

(a)  Always  complaining. 

(6)  Compels  peasant  to  sell  all  he  owns  to  get  money  to  buy 

vodka  at  the  tavern, 
(c)   Finally  peasant  has  nothing  left. 

8.  Misery's  plan: 

(a)  Tells  peasant  to  borrow  cart  and  oxen. 

(h)  Directs  him  to  drive  to  a  big  stone  in  a  certain  field. 

(c)  Orders  peasant  to  lift  stone. 

(d)  A  deep  hole  filled  with  gold  pieces  is  seen. 

(e)  Peasant  piles  the  gold  into  the  cart. 

9.  The  peasant's  trick: 

(a)  Tells  Misery  to  jump  in  the  hole  and  look  for  another 

gold  piece. 
(h)  He  rolls  the  stone  over  the  pit. 
(c)   Misery  is  shut  in. 

10.  The  peasant's  use  of  his  gold: 

(a)  Builds  a  fine  home, 

30 


(6)  Wife  and  children  happy. 
(c)   Kind  to  his  neighbors. 

11.  The  peasant  invites  his  wealthy  brother  to  a  feast: 

(a)  Merchant  amazed  to  see  brother's  wealth. 
(6)  Is  treated  kindly  and  courteously. 

(c)  Hears  the  story  of  Master  Misery. 

(d)  Is  very  jealous. 

12.  The  merchant  brother's  plan  to  release  Misery: 

(a)  Goes  to  the  field  and  lifts  the  stone. 
(h)  Misery  jumps  upon  him. 

(c)  Accuses  him  of  shutting  him  in  the  pit. 

(d)  Goes  home  on  his  shoulder. 

13.  Misery  in  the  merchant's  home: 

(a)  Makes  the  merchant  spend  all  his  money  in  the  tavern. 
(h)  Merchant  becomes  as  poor  as  his  brother  had  been. 

14.  The  merchant's  scheme  to  get  rid  of  Misery: 

(a)  The  game  of  hide-and-seek. 

(&)  Misery  shut  in  the  hub  of  a  cart  wheel. 

(c)  Merchant  throws  the  wheel  into  the  river. 

(d)  Returns  home  to  make  money  again. 

(e)  Misery  escapes  somehow,  for  he  is  still  wandering  aiound. 

WHY  THE  SPIDER  SPINS,  page  195 

1.  The  goddess  of  wisdom — Minerva: 

(a)  Minerva  also  a  clever  needlewoman. 
(6)  Delighted   to   help   all   women   with   embroideries    and 
tapestries. 

2.  Arachne: 

(a)  Most  skillful  of  all  women  in  weaving. 
(6)  Very  proud  of  her  work. 

3.  Minerva's  visit  to  Arachne: 

(a)  Her  object — to  praise  and  reward  Arachne. 

(6)  Arachne  foolishly  challenges  Minerva  to  a  contest. 

4.  The  contest: 

(a)  Goddess  very  angry. 

(6)  Agrees  to  contest  with  idea  of  punishing  Arachne. 

31 


(c)  Arachne^s    beautiful    tapestry — a    magic    bull    carrying 

Europa  through  the  sea. 

(d)  Minerva^s  wonderful  picture  of  a  debate  among  the  gods. 
5.  The  result  of  the  contest: 

(a)  Arachne  sullenly  acknowledges  herself  surpassed  by  the 

goddess. 
(6)  Minerva  punishes  Arachne  oy  changing  ner  to  an  ugly 

spider — Spider  spins  because  Arachne  was  so  skillful 

a  spinner. 

THE  BABY  WHO  WAS  FOUND  IN  A  RIVER,  page  259 

1.  Introduction: 

(a)  Pharaoh's  fear  at  the  increasing  number  of  the  Israelites. 
(h)  The  cruel  treatment  of  the  Israelites  by  the  Egyptians, 
(c)   The  order  that  all  boy  babies  should  be  killed. 

2.  The  birth  of  a  Hebrew  boy  baby: 

(a)  His  mother  hides  him  as  long  as  possible. 

(h)  She  puts  him  in  a  little  '^ark^'  which  she  has  made. 

(c)  She  places  the  ark  among  the  reeds  in  the  river. 

(d)  She  and  the  little  sister  Miriam  watch  it. 

3.  The  arrival  of  Pharaoh's  daughter  at  the  river: 

(a)  The  princess  orders  the  ark  brought  to  her. 
(h)  Her  love  for  the  beautiful  baby. 

4.  Miriam  runs  to  the  princess: 

(a)  Asks  if  she  shall  find  a  nurse  for  the  baby. 
(Jb)  Brings  the  baby's  own  mother. 

(c)   Princess  orders  the  mother  to  care  for  the  child  until  he 
is  old  enough  to  live  in  the  palace. 

5.  Moses  in  the  palace: 

(a)  Princess  names  him  '^ Moses",  meaning  "Drawn  out". 
(h)  He  is  brought  up  as  the  son  of  Pharaoh's  daughter, 
(c)   He  receives  a  splendid  education. 

STORIES  FOR  APPRECIATION   OR  ENTERTAINMENT 

The  following  stories  in  the  Fifth  Reader  may  be  taught  by 
the  above  methods. 

32 


PAGE 

A  Little  Story  About  Some  Little  People 7 

The  Home  of  the  Dwarfs 11 

How  a  Town  Was  Saved  by  a  Clock 36 

Lost  in  the  Woods 38 

Why  the  Town  Hall  Fell 43 

Tom's  Trip  to  the  Moon 49 

George  Washington  and  the  Colt 72 

Beyond  the  Gap 80 

Fire-flies  in  Japan 84 

Saint  Francis  and  the  Wolf 89 

MoLLiE  Pays  a  Visit  to  the  Unwiseman 95 

It  Takes  Two  to  Make  a  Quarrel 107 

Why  the  Butterfly's  Wings  Are  Painted 112 

The  Golden  Bird 115 

RosE-BuD 134 

The  Thrifty  Beaver 139 

The  People  of  the  Desert's  Edge 156 

The  Two  Maidens,  the  Gawo-tree,  and  the  Lizard 164 

Why  the  Spider  Spins 195 

Why  the  Squirrel  Saved  for  the  Future 200 

How  Gladstone  Obeyed  His  Father 203 

The  Checker  Board  Dress 205 

Gerry  of  the  Signal  Corps 207 

The  Fox  and  the  Cock ,  213 

The  Two  Dolls 226 

The  King  and  the  Heartsease 231 

The  Hut  in  the  Forest 237 

The  Baby  Who  Was  Found  in  a  River 259 

The  Voice  from  the  Burning  Bush 262 

The  Plagues  of  Egypt 266 

The  Path  Through  the  Sea  and  the  Bread  from  Heaven 274 

The  Mountain  that  Smoked 277 

The  First  Fire  Users 280 

The  Pets  of  Aurore  Dupin 283 


SIXTH  READER 
Stories  for  Appreciation  or  Entertainment 

(a)  Learning  to  Grasp  the  Plot  of  a  Story.    For  explanation 
see  page  27  of  the  Manual,     To  illustrate: 

33 


The  following  stories  in  Sixth  Reader  may  be  taught  by  this 
method : 

PAGE 

The  Happy  Pkince 19 

Saint  George  and  the  Dragon 51 

PiETRo's  Adventure 106 

The  Count  and  the  Robbers 119 

Caliph  for  One  Day 170 

How  Stella  Lost  Her  Slippers 192 

The  Magic  Horse 243 

Otelne,  the  Indian  of  the  Great  North  Woods 287 

The  Fairies  on  the  Gump 303 

(h)  Developing  the  ideas  behind  the  printed  words  by  means  of 
thought-provoking  questions,     Avoid  asking  fact  questions. 

To  illustrate: 

CALIPH  FOR  ONE  DAY,  page  170 

The  setting — City  of  Bagdad. 

Can  you  describe  the  evening  scene? 

The  young  man — What  was  he  doing? 

What  effect  did  his  actions  seem  to  have  on  people? 

Describe  his  meeting  with  the  strangers  and  their  surprise. 

Do  you  think  such  an  invitation  could  be  extended  to-day? 
Was  it  considered  '^ queer''  in  those  days? 
The  Body  of  the  Story: 

Who  will  offer  to  find  out  more  about  a  Caliph  and  his  court? 

Abu  Hassan's  story:  Read  it  to  us,  or  tell  it  to  the  class. 

Under  similar  circumstances  would  your  friends  desert  you? 

Suppose  you  had  been  one  of  Abu  Hassan's  friends,  what 
would  you  have  done? 

What  do  you  think  of  his  desire  for  revenge? 

Would  you  care  to  be  Caliph  for  a  day?     Why?  or  Why  not? 

A  pinch  of  white  powder,  and  what  happens? 

Can  you  think  of  any  other  stories  where  similar  magic  is  used? 

After  all,  Abu  Hassan  was  a  clever  man.     He  did  not  lose  his 
head. 

34 


How  did  he  act?  Did  he  accomplish  his  wish?  Was  he  in 
danger? 

Do  you  think  the  Caliph  was  generous,  or  did  he  want  a 
day^s  pleasure? 
The  Conclusion: 

How  do  you  feel  after  a  wonderful  time? 

Do  you  believe  Abu  Hassan  thought  it  better  to  have  the 
excitement  of  adventure  or  to  live  without  it? 

(c)  Method  of  handling  the  long  story: 

1.  When  a  long -story  is  being  read  for  appreciation,  portions 
of  it  should  frequently  be  assigned  to  be  read  at  home.  A  partic- 
ularly interesting  story  begun  in  class  may  be  assigned  to  be 
completed  at  home.  This  home  reading  should  be  followed  by 
class  discussion  of  the  material  read. 

During  the  silent  reading  period  in  school  the  teacher  should 
give  individual  assistance  and  general  supervision.  Silent  reading 
for  appreciation  should  invariably  be  followed  by  discussion  in 
class  to  make  sure  that  the  pupils  have  taken  in  the  thought  and 
spirit  of  the  selection. 

2.  When  each  child  has  a  different  book,  or  when  each  child 
has  a  different  story,  or  when  small  sections  of  the  class  each  has 
a  different  story  or  book: 

(a)  First  period  to  be  devoted  to  distribution  of  books  or 
stories  and  reasons  for  selection.  A  discussion  of  the 
way  in  which  story  is  to  be  read  and  the  kind  of  report 
expected. 

(h)  Read  story  through  once  rapidly. 

(c)  Re-read  entire  story  or  certain  parts  to  study  detail  (at 

home  or  at  school). 

(d)  Re-read  again  and  prepare  report  (at  home  or  at  school). 

(e)  Giving  reports  to  the  class.      Discussion  of  reports  in 

class. 
Reports  should  not  necessarily  mean  a  reproduction  of  the 
entire  story.     They  might  be: 

1.  A  reproduction  of  the  plot. 

2.  A  description  of  a  leading  character. 

35 


3.  A  solution  of  a  presented  problem. 

4.  Making  a  list  of  important  consecutive  events. 

5.  A  discussion  of  the  climax. 

STORIES  FOR   APPRECIATION   OR   ENTERTAINMENT 
IN  THE  SIXTH  READER 

PAGE 

The  New  Wonderland 11 

The  Happy  Prince 19 

Feeding  French  Children 30 

Genevieve's  Letter 34 

Saint  George  and  the  Dragon 51 

Roosevelt's  Favorite  Study 58 

Franklin  Writes  for  the  Newspaper 63 

"Some  Ugly  Old  Lawyer" 103 

PiETRo's  Adventure 106 

Father  Domino 112 

The  Count  and  the  Robbers 119 

Caliph  for  One  Day 170 

The  First  Potter 180 

''It's  Quite  True!" 188 

How  Stella  Lost  Her  Slippers 192 

Why  the  Echo  Answers 204 

What  Mekolka  Knows 223 

The  Bear's  Night 228 

The  Chinese  New  Year's  Day 232 

The  Magic  Horse 243 

The  Fire  Spirit 259 

Otelene,  the  Indian  op  the  Great  North  Woods 278 

"Verdun  Belle" 290 

The  Fairies  on  the  Gump 303 

A  Trip  to  the  Moon 313 


36 


DRAMATIZATION 

Fourth,  Fifth,  Sixth  Readers 
Dramatization  is  the  easiest  and  simplest  way  of  leading 
children  into  the  habit  of  searching  for  all  the  important  ideas  in 
a  story.  It  tests  the  extent  to  which  a  child  has  grasped  those 
ideas  as  well  as  his  understanding  of  the  spirit  of  the  story.  If  a 
child  reads  carelessly  and  then  attempts  to  act,  he  fails.  Through 
this  experience,  he  learns  that  in  order  to  act  successfuly  he  must 
read  accurately.  Dramatizations  are  rarely  successful  after  one 
reading;  the  story  must  be  read  once  and  then  discussed  in  class, 
or,  if  it  is  a  long  and  difficult  story,  it  may  be  read  twice  or  even 
several  times  before  an  attempt  is  made  to  dramatize  it. 

The  wise  teacher  never  loses  sight  of  the  aim  of  this  method — 
to  test  the  child's  grasp  of  the  ideas — therefore,  no  time  should  be 
wasted  in  elaborate  perf ormace  or  in  a  tiresome  search  for  prop- 
erties. Allow  the  imagination  room  to  develop.  The  children 
may  indicate  the  teacher's  desk  and  say,  *^This  is  a  cave",  and 
John  creeps  under  the  desk*  or  they  may  say,  '^  This  is  a  tree",  and 
John  climbs  on  top. 

The  teacher  must  be  familiar  with  the  story,  the  characters, 
the  various  scenes  and  the  action,  in  order  to  advise  the  children 
and  to  keep  the  play  moving.  The  following  dramatizations  are 
for  the  eye  of  the  teacher  only  and  are  merely  suggestions  of  what 
may  be  done;  very  fine  dramatizations  may  be  given  by  classes 
and  they  will  vary  from  the  words  given  here. 

FOURTH  READER 

The  following  are  good  stories  to  play: 

PAGE 

The  Goat,  the  Lion,  the  Leopard,  and  the  Hyena 31 

The  Giant's  New  Year 48 

The  Spider  and  the  Lion 154 

The  Three  Swords 175 

A  Lost  Brother  Found 233 

37 


THE   SPIDER  AND   THE   LION,  page  154 

Persons  in  the  Play: 

Gizo,  the  cunning  spider 
Zaki,  the  fooHsh  lion 
The  Spotted  Bush-fowl 
Gara,  the  white  ant 
The  Bush-buck,  being  Gizo  in  disguise 
Place  of  the  Play:  In  a  forest,  near  a  stream. 
Scene:  A  fire.     Gizo  frying  fish  that  he  has  caught.    Delicious 
smells  have  been  blown  into  the  forest,  and  Zaki  is  seen 
coming  toward  the  fire. 
Zaki. — What  are  you  doing? 
Gizo.— I  am  frying  fish. 

Zaki. — Give  me  one,  for  I  am  hungry.  {Gizo,  hungry  hut  afraid 
to  offend  Zaki,  gives  him  the  smallest.)  Now  give  me  another. 
{Swallows  it — licks  his  lips.)  Now  another.  {Finds  it  sweeter 
still.)  Now  give  me  all  the  rest.  {Gizo^s  eyes  fdl  with  tears — he 
is  so  hungry.)  Why,  Gizo,  you  are  crying.  Are  you  unwilling  to 
give  me  the  fish? 

Gizo  (fearfully). — Oh,  no,  Zaki,  I  am  not  crying.  The  smoke 
got  into  my  eyes.  {Gizo  quietly  weeps,  Zaki  goes  on  eating.  The 
Bush-fowl  struts  by.) 

Bush-fowl. — Kuker!  Kuker! 

Gizo. — Vain  creature!  Just  look  at  her  showing  off  her  airs 
before  me!  She  does  not  even  greet  me.  And  yet  it  was  I  who 
gave  her  beautiful  spotted  coat  feathers. 

{Zaki,  foolish  and  vain,  longed  for  a  coat  like  the  Bush-fowl.) 
Zaki. — Gizo,    did   you   really   make   her   beautiful   spotted 
feathers? 

Gizo. — Yes,  I  made  them  for  her. 

Zaki. — Oh,  Gizo,  won^t  you  make  me  a  spotted  coat  too? 
Gizo. — Oh,  yes,  Zaki,  I  will.     But  it  will  be  difficult,  and  I 
need  a  lot  of  things. 

Zaki. — What  do  you  need? 
Gizo. — First  I  need  the  skin  of  a  bush-cow, 

38 


Zaki. — That^s  easy  enough.  (Rushes  off  into  the  bush^  and 
kills  a  cow,  drags  it  to  Gizo,  who  skins  it  and  cuts  it  into  strips.) 
Now  will  you  make  me  a  spotted  coat? 

Gizo. — Not  till  I  find  a  Kazaura  tree.  It  must  be  a  strong 
one  too.  Hit  it  with  your  chest;  if  it  moves,  it  will  not  do.  You 
must  find  one  that  will  not  move  when  you  hit  it  with  your 
chest. 

(Zaki  rushes  away — soon  returns.) 

Zaki — I  have  found  one. 

Gizo. — Now  we  must  make  a  fire.  Come  over  under  the 
Kazaura  tree.  Put  the  meat  of  the  cow  on  the  fire.  Now,  Zaki, 
lie  down  close  to  the  tree,  and  I  will  tie  you  to  it.  (Ties  Zaki  with 
strips  of  cow-skin).  Is  there  anywhere  I  have  not  tied  you?  Can 
you  move? 

Zaki  (stirring). — Here  is  a  place  you  have  not  tied.  (Gizo 
ties  that  part  securely.  Gizo  heats  a  skewer  red  hot  and  hums  spots 
on  Zaki^s  skin,  while  Zaki  roars  with  pain.)  Gizo,  unfasten  me! 
Let  me  go! 

Gizo  (still  burning  spots). — Chuiwi!  That's  for  my  smallest 
fish!  Amivai!  That's  f or  my  kulume  fish !  Amavai!  That's 
for  my  elephant-of-the-water  fish. 

(Gizo  and  his  family  leave,  carrying  the  cow  meat.) 

Gara,  the  Ant  (stops  to  look  at  Zaki). — I  could  free  you, 
Zaki,  but  you  might  kill  me. 

Zaki. — Oh,  no,  Gara,  I'll  give  you  the  meat  of  the  bush-cow 
if  you  free  me. 

(Gara  gnaws  the  strips.  Zaki  rushes  away  to  kill  Gizo.  Gizo 
covers  himself  with  the  skin  of  the  bush-buck.) 

Zaki. — Bush-buck,  have  you  seen  Gizo,  the  Spider? 

Bush-buck  (Gizo,  in  disguise). — No,  I  hope  I  never  see  that 
evil-headed  person  again. 

Zaki. — I  seek  Gizo.     Why  should  I  not  do  so? 

Bush-buck  (sobbing). — He  is  doing  evil  in  the  bush.  See 
how  thin  and  ill  I  am.  I  quarreled  with  him.  He  pointed  his 
finger  at  me,  and  I  wasted  away.  Whoever  offends  him  comes 
off  badly, 

39 


Zaki  (terrified). — I  beg  of  you,  If  you  see  him,  do  not  tell  him 
I  was  looking  for  him. 

Bush-buck. — I  promise  I  will  not. 

(Zaki  runs  off  wildly.  Gizo  throws  off  bush-buck^s  skin  and 
runs  after  him.) 

Gizo. — Where  is  Zaki?  Does  he  wish  to  quarrel  with  me? 
Only  let  me  see  him! 

Zaki  (bowed  to  the  ground  with  terror.) — Oh,  no,  I  am  not 
looking  for  you.  I  do  not  wish  to  quarrel  with  you.  I  am  very 
sorry  I  ate  all  your  fish. 

Gizo. — Very  well.  But  if  I  find  you  following  me,  you  will 
see  trouble.  If  you  go  away  quickly,  I  will  forgive  you.  You 
despised  me  once.     Now  you  are  afraid  of  me. 

(Zaki  slinks  away,    Gizo  follows  slowly,) 

FIFTH  READER 
The  following  are  good  stories  to  act: 

PAGE 

How  THE  Lilies  Came  to  France 22 

Lincoln  Carried  Her  Trunk 33 

Tom!s  Trip  to  the  Moon 49 

The  Pilgrim  and  the  Hyena 221 

HOW  THE  LILLIES  CAME  TO   FRANCE,  page  22 
Persons  in  the  Play: 
Clovis 
The  Knight 

SiGEBERT 

The  Page 
The  Queen 
The  Angel 
The  Frankish  Troops 
Place  of  the  Play:  France  in  the  Olden  Times. 

ACT  I.    The  Three  Toads 
Scene:  Outside  Clovis's  Castle 
(Sigebert,  Clovis' s  son,  watching  for  his  father^ s  return.     The 

40 


noise  of  returning  soldiers  is  heard,  and  the  army  comes  into  view; 

the  leader  carries  a  shield  bearing  three  toads  blazoned  on  it.) 
{Sigebert  throws  himself  into  his  father^ s  arms.) 
SiGEBERT. — My  father,  my  father!      You  are  home  again! 

Those  horrid  toads  got  dented  again  to-day.     Some  day  they  will 

let  an  arrow  or  a  spear  go  right  through  them  to  kill  you ! 

The  Knight. — Tis  true,   sire.      The   toads   bring  you   no 

safety;  sometimes  it  seems  as  if  they  brought  you  defeat  also. 

ACT   II.     A  Dream 
Scene:  A  sunny  day  in  a  field  of  lilies 
(Sigebert  and  a  gleaming  angel  are  seen  standing  in  the  field. 
The  angel  bears  a  blue  shield  emblazoned  with  three  golden  lilies.) 

The  Angel. — These  are  the  flowers  of  France,  Sigebert. 
Tell  your  father  that  if  he  bears  a  shield  like  this  into  battle,  if 
he  bears  these  lilies  on  his  banner,  then  he  may  follow  them  safely 
through  danger — the  angels  will  be  with  him. 

{Sigebert  wakes — hears  the  troops  in  the  courtyard,  and  hurries 
away.) 

ACT  III.     The  Lilies  Come  to  France 
Place:   Courtyard  of  Castle.    Troops  busily  preparing  to  march. 

Scene  1 
{The  page  hands  the  King  the  shield  emblazoned  with  three  black 
toads.) 

Sigebert. — Father,  Father,  do  not  carry  the  toads.    Listen 
to  my  dream!     A  flaming  angel  showed  me  a  blue  shield  bearing 
three  golden  HHes.     If  you  will  carry  that  shield,  and  a  banner  like 
it,  you  will  be  safe  in  all  danger,  for  the  angels  will  guard  you. 
The  Queen. — Carry  the  Hlies,  my  lord! 
All. — Carry  the  lilies! 

Clovis. — I  will.  If  I  win  this  victory,  I  will  carry  them 
always. 

{All  wait,  a  new  shield  and  banner  are  finally  brought  in^  and 
the  company,  headed  by  the  King,  march  away.) 

Scene  2 

Place:  Courtyard  of  the  Castle 

41 


(Sigebert  alonej  looking  anxiously  toward  the  road  over  which 
his  father  marched  away,  A  flare  of  trumpets — troops  come  marching 
back.) 

Sigebert  (throwing  himself  into  his  father^ s  arms). — Father, 
you  have  brought  back  your  shield  undented! 

SIXTH  READER 
These  are  good  stories  to  dramatize: 

PAGE 

On  the  Frontier 18 

The  Land  of  Equal  Chance 41 

The  Broken  Flower-pot 46 

The  plot  in  these  stories  may  suggest  similar  plots  and  the 
pupils  ought  to  be  encouraged  to  write  original  plays. 


42 


READING  POETRY  FOR  APPRECIATION  OR 
ENTERTAINMENT 

Fourth,  Fifth,  Sixth  Readers 
We  enjoy  poetry  because  of  the  rhythm  of  the  lines  and  the 
beauty  of  the  words.  In  order  to  be  sure  that  the  children  feel 
the  music  and  poetry  of  the  song,  all  poems  should  be  read  through 
without  interruption.  Have  the  children  read  the  poem  silently. 
Watch  their  faces  for  expression.  When  sufficient  time  has  been 
allowed,  close  the  books.  Suggest  that  the  ^^ pictures^'  in  the 
poems  be  described.  Ask  for  illustrations  of  rhyme.  Do  you 
remember  some  lines  or  some  words  that  rhyme?  Could  you 
illustrate  the  rhythm  of  this  song  either  by  swinging  your  arms,  or 
your  body,  or  clapping  your  hands?  Which  stanza  did  you  like 
best?    Why? 

Since  over-analysis  destroys  the  spirit,  avoid  a  tendency  to 
discuss  the  selection  in  too  great  detail.  It  is  not  necessary  to 
know  all  the  words  of  a  selection  to  enjoy  reading  it.  There 
should  be  no  distracting  discussion  of  non-essentials.  Difficult 
words  or  obscure  allusions  should,  as  far  as  possible,  be  treated 
in  advance  of  the  lesson,  but  poems  selected  for  silent  reading 
should  never  be  difficult.  The  beauty  of  poetry  is  in  the  music 
of  the  lines.  If  the  children  feel  the  spirit  of  the  selection  they 
have  read  successfully. 

It  is  most  important  that  pupils  get  the  habit  of  hearing  the 
words  mentally  as  they  read  silently.  Probably  the  chief  reason 
why  many  people  do  not  enjoy  poetry  is  that  they  fail  at  this 
point.  It  is  a  good  plan  to  go  over  a  line  or  two  at  a  time;  then 
ask  pupils  to  listen  as  you  beat  time  and  see  if  they  can  imagine 
that  they  hear  the  words.  Those  who  do  will  usually  be  able  to 
repeat  them  from  memory.  On  the  same  principle,  pupils  should 
be  taught  to  close  their  eyes  and  see  the  pictures  presented  by 
the  poems, 

43 


FOURTH  READER 

Poetry 

THE  SUN  TRAVELS,  page  14 

Discuss  the  strange  story  of  the  sun's  travels  and  his  busy 
time. 

Where  is  the  sun  when  you  are  in  bed? 

Do  you  know  when  he  returns? 

While  you  play,  who  is  sleepy? 

Can  you  tell  me  the  two  opposite  stories  told  in  the  last 
stanza? 

JACK  01.ANTERN,  page  60 

The  children  will  commit  this  poem  to  memory  readily. 
Call  attention  to  the  contrasting  pictures. 
Notice  the  pairs  of  words  that  rhyme. 

winked  blinked 

case  face 

fat  sat 

PICTURE  BOOKS  IN  WINTER,  page  85 

Here  is  a  poem  that  fairly  sings  itself  along. 

After  a  discussion  of  the  questions  outlined  at  bottom  of  page 
85,  ask  the  class  to  swing  their  arms  to  the  rhythm  of  the  verse. 
Using  the  same  rhythm,  could  you  write  four  lines  of  poetry 
about  summer,  about  a  book,  or  a  fairy? 

Make  a  Hst  of  all  the  words  that  rhyme. 

Have  you  a  chimney  corner?  Where  do  you  like  to  go  to 
read  your  '^ picture''  story-book? 

There  are  some  good  ^'action"  words — find  them. 

BLOCK  CITY,  page  92 

A  poem  of  pictures  put  to  music. 
How  many  felt,  as  they  read,  the  swing  of  the  lines? 
Who  will  read  aloud  for  us  the  most  musical  stanza? 
There  is  rhythm  in  poetry,  in  song,  in  marching.     Can  you 
think  of  any  other  ways  in  which  rhythm  expresses  itself? 

44 


Talk  about  the  '^  game  of  pretend  '\  Perhaps  you  have  played 
'^let^s  build  a  city^^  in  the  sand  at  the  seashore.  Tell  us  about 
this  game.  Describe  the  city,  the  palace,  the  vessels,  the  kings. 
What  happens  to  the  city? 

Close  your  eyes  and  see  if  the  picture  comes  into  your  mind. 

Shall  you  forget  it?     Should  you  like  to  draw  it? 

THE   HAYLOFT,  page  103 

The  children  love  Robert  Louis  Stevenson  because  of  the 
music  of  his  poetry,  and  the  imaginative  pictures  he  paints.  They 
will  eagerly  name  other  poems. 

There  are  many  good  action  words  in  this  poem.  Can  you 
find  them? 

Why  is  '^ clamber'^  better  than  "climb"  or  ''jump"? 

What  a  happy,  jolly  stanza  the  last  one  is!  It  makes  you  long 
for  a  hayloft;  perhaps  you  can  almost  smell  the  hay! 

SINGING,  page  115 
After  you  have  talked  about  the  other  things  that  sing,  and 
what  they  sing  about,  you  will  probably  be  able  to  write  four  lines 
of  poetry. 

THE   WIND,  page  121 
The  poet  uses  expressive  "action"  words: 

toss  blow  push  call 

The  poet  has  described  a  beautiful  picture.     Can  you  see  it? 
Do  the  last  two  lines  in  each  stanza  make  you  think  of  the 
wind? 

They  sound  like  the  wind.  Can  you  hear  it  as  you  read 
silently? 

If  you  can  hear  "sounds"  and  see  "pictures"  you  will  love 
to  read. 

BED    IN   SUMMER,  page  149 
After  closing  your  books,  make  a  list  of  the  words  that  rhyme. 
If  you  cannot  remember  any,  read  the  poem  again. 
Select  the  most  expressive  line,  such  as,   "The  birds  still 
hopping  on  the  trees".    Which  Kne  do  you  like  best?    Why? 

45 


FIFTH   READER 
Poetry 
THE  GRAPEVINE  SWING,  page  192 
How  many  children  like  to  swing?     Why? 
The  swing  moves  regularly — back  and  forth — or  in  rhythm. 
Compare  to  rhythm  of  a  rocking-chair,  a  baby's  cradle,  a 
hammock.     Make  a  swing  of  your  arms — so — and  to  my  counts 
swing  them — left,  right,  left,  right. 

Read  the  poem  and  feel  the  swing  of  the  lines. 

Imagine  that  you  are  swinging  on  a  strong  grapevine  swing. 

Ready!     Read! 
Repeat  some  of  the  lines  that  seem  to  swing — 
"Swinging  in  the  grapevine  swing, 
Laughing  where  the  wild  birds  sing, 
I  dream  and  sigh 
For  the  days  gone  by. 
Swinging  in  the  grapevine  swing." 
Notice  repetition  of  this  form  of  rhythm. 
Discuss  questions  printed  at  end  of  poem. 

POETRY. 

PAGE 

The  Clock 15 

The  Gakden  that  Jack  Made 17 

Farewell  to  the  Farm 35 

A  Song  of  the  Greenwood 42 

The  Land  of  Story  Books 75 

The  Children's  Hour 144 

The  Grapevine  Swing 192 

SIXTH   READER 

To  illustrate: 

TRAVEL,  page  35 

Look  at  the  way  the  poem  is  printed. 

How  does  form  of  the  poem  differ  from  other  poems?     Why 
do  you  suppose  Robert  Louis  Stevenson  wrote  in  this  way? 
Do  you  ever  build  '^Castles  in  Spain''? 

46 


One  dream  leads  to  another  dream;  just  pretend  you  are 
musing  or  dreaming  and  longing  to  travel,  read  this  poem  and 
feel  the  lines  carry  you  on  from  one  place  to  another. 

Allow  time  for  majority  of  class  to  finish. 

Close  your  book. 

Let  us  see  if  we  can  recall  the  series  of  pictures  Stevenson 
dreams  among  the  remote  and  strange  lands. 

Where  he  goes  What  he  sees 

The  South  Sea  Islands.  Lonely  Crusoes  building  boats. 

Eastern  Cities.  Minarets,  mosques,  bazaars. 

China.  Great  Wall,  desert,  cities. 

Tropical  forests.  Apes,  cocoanuts,  huts. 

Nile.  Crocodile,  flamingo. 

Jungles.  Tigers,  palanquins. 

Deserted  Cities.  Not  a  foot,  not  a  stir. 

Camel  caravan  comes  to  light  a  fire  in  this  gloom.  The 
scene:  pictures  on  the  walls,  heroes,  fights,  festivals,  toys  of  the 
old  Egyptian  boys. 

Poems 

PAGE 

Travel ": Robert  Louis  Stevenson    35 

The  Skeleton  in  Armor Henry  Wadsworth  Longfellow  149 

The  Inchcape  Rock Robert  Southey  216 


47 


ACTING  FOR  MOVIES 

Fourth,  Fifth,  Sixth  Readers 
Problem. 

Read,  so  as  to  be  able  to  act. 
Method. 

Since  all  children  love  to  act,  general  interest,  excitement  and 
enthusiasm,  always  accompany  this  lesson.  The  audience  is 
delighted  with  a  good  portrayal  and  each  child,  or  set  of  children. 
is  stimulated  to  get  every  possible  idea  from  the  printed  words. 
Every  important  point  must  be  acted,  every  facial  expression 
carried  out.  As  children  are  always  clever  in  their  property 
substitutions,  the  teacher  does  not  have  to  become  unduly  anxious 
about  this  part  of  the  fun;  a  board  eraser,  or  a  book,  become  a 
plate;  a  pointer,  a  sword;  an  aisle  between  desks,  a  garden  walk. 

When  more  than  one  character  is  needed  allow  a  pupil  to 
chose  his  assistants,  give  a  couple  of  minutes  for  consultation  and 
let  the  play  proceed.  Encourage  the  pupils  to  be  dramatic  in 
order  to  send  the  ideas  out  to  the  class;  but,  at  the  same  time, 
urge  simplicity  in  properties. 
To  illustrate  from  Sixth  Reader: 

On  page  38  read  the  words  that  tell  you  how  to  act  for  the 
movies.     You  ought  to  finish  in  a  minute  and  a  half. 

Ready — go ! 

Eyes  up! 

What  are  you  to  do?  By  means  of  a  short  discussion  develop 
the  following: 

1.  We  read  the  little  parts  of  seven  stories. 

2.  The  teacher  will  whisper  to  us  which  scene  we  are  to 

act. 

3.  Then  we  read  the  scene  over  again  carefully,  think  of 

what  we  shall  do,  of  what  we  shall  use  in  the  way 
of  properties;  of  how  we  must  look. 
48 


4.  We  are  to  act  so  well  that  our  classmates  will  be  able 

to  guess  which  scene  we  are  acting. 

5.  The  class,  which  has  become  the  audience,  is  to  watch 

for  all  important  points  in  the  acting  and  to  guess 
which  scene  is  portrayed. 

Ready  to  read  scenes.  Go!  Allow  time  for  at  least  three- 
fourths  of  the  class  to  finish.  Then  whisper  to  each  one  of  seven 
children  the  number  of  the  scene  he  is  to  act.  Give  them  time 
to  re-read.  Call  on  child  who  seems  ready  to  act.  If  this  child 
needs  assistants  he  quickly  selects  them,  gets  any  properties  he 
may  need  and,  after  a  rapid  conference  with  the  actors  he  has 
selected,  the  class  may  see  something  like  this: 

The  teacher  calls  on  Tom  to  act  his  scene.  He  immediately 
chooses  four  or  five  other  boys.  They  whisper  together  for  a  few 
moments, — then  Tom  sits  down  with  much  dignity  while  the  other 
boys  take  down  great  books  (probably  a  large  dictionary  or  ency- 
clopedia) and  with  solemn  faces  and  trembling  fingers  dramatically 
trace  through  the  pages.  At  the  end  of  each  page  they  shake  their 
heads  and  mutter  among  themselves.  They  close  the  books  and 
with  many  gestures  of  despair  approach  the  king  and  say,  "We 
cannot  find  an  answer  written  in  all  the  books  of  the  kingdom. 
Your  Majesty". 

These  scenes  may  be  read  at  home  or  in  school.  A  responsible 
committee  meeting  in  the  school  may  supply  the  necessary  prop- 
erties, stage  management,  and  select  the  actors.  The  Committee, 
then,  is  responsible  for  an  accurate  and  well-conducted 
performance. 

FOURTH  READER  page 

Acting  for  the  " Movies" 25 

Can  You  Act? 114 

FIFTH   READER 

Acting  for  the  "Movies" 12 

Can  You  Act? 198 

SIXTH   READER 

Acting  for  the  ''Movies" 38 

The  Good  Giant  Wins  His  Fortune 116 

Acting  for  the  "  Movies"  156 

49 


READING  FOR  INSTRUCTION 

Fourth,  Fifth,  Sixth  Readers 
Explanation. 

(a)  The  pupil  must  learn  that  reading  and  study  are  so  closely 
related  that  they  are  really  one  performance;  that  is,  they  must 
learn  to  read  so  thoroughly  that  the  important  points  and  their 
relationship  to  other  important  points  stand  out  clearly.  It  ought 
not  to  be  necessary  to  read  a  lesson  over  and  over  again  in  order 
to  grasp  the  content;  if  it  is  read  once,  and  an  outline  made  of  the 
main  and  subordinate  topics,  the  essentials  should  have  been 
learned.  In  the  fourth,  fifth  and  sixth  grades,  therefore,  pupils 
should  be  trained  to  read  thoroughly  and  quickly  for  the  big 
message  the  printed  page  contains;  out  of  a  mass  of  material  they 
must  learn  to  grasp  the  fundamental  facts. 
Material. 

(6)  The  arithmetic,  history,  civics,  geography,  and  English 
textbooks;    books  of  reference  and  instructive  articles  in  supple- 
mentary^ reading  material. 
Procedure. 

(c)  The  teacher  may  set  problems  for  the  pupils  and  urge 
them  to  look  for  answers,  reasons,  and  results.  The  children 
should  learn  how  to  dig  the  important  facts  out  of  lengthy  material. 
Teach  them  when  to  read  every  word  and  when  'Ho  skim''  for  the 
central  fact.  The  teacher  must  insist  that  the  so-called  '^  skim- 
ming" is  not  careless  reading;  it  is  a  wise  and  economical  way  of 
reading. 

1.  Read  silently  and  quickly. 

2.  Read  with  a  problem  in  mind. 

3.  Test  speed  by  means  of  speed  drills  and  by  a  com- 

parison of  individual  scores. 

4.  Test  comprehension  by  means  of: 

(a)  Thought-provoking  questions. 
50 


(b)  Problems. 

(c)  Discussions,  oral  reports,  socialized  recitation. 

(d)  Written  outlines,  headings,  topics. 

(e)  Writing    lists    of    important    facts    or    things 

mentioned. 

SUGGESTIONS  FOR  TEACHING  SILENT  READING  IN 

MATERIAL  FOR  INSTRUCTION   OR 

'DREADING  TO  LEARN ^' 

(d)  Much  of  the  testing  of  this  work  should  be  written  rather 
than  oral.  Each  individual  is  capable  of  making  a  quicker  and 
more  direct  association  if  undisturbed  by  expressing  his  thoughts 
orally  or  by  the  oral  reproductions  from  his  neighbors.  There- 
fore, in  the  majority  of  lessons,  let  the  child  read  the  entire  assign- 
ment silently,  write  out  topics,  or  outlines,  or  answers  to  questions 
and  problems  silently,  and  record  the  time  consumed  on  his  paper. 
After  this  has  been  accomplished,  a  discussion  of  the  work  done 
may  be  found  profitable. 

In  the  fourth  grade  it  is  sufficient  to  develop  the  idea  of 
'^ outline"  by  means  of  one  heading,  title,  or  sign  post  for  each 
paragraph  in  an  article.  In  the  fifth  grade,  one  or  two  sub- 
headings may  be  attempted,  but  in  the  fourth  grade,  the  greatest 
importance  should  be  attached  to  the  habit  of  getting  the  one  big, 
main  fact  from  each  paragraph.  If  this  idea  is  well-drilled  by 
careful  and  systematic  repetition  at  regular  intervals  it  will  form 
the  foundation  for  the  development  of  outlines  and  of  the  clear 
thinking  so  necessary  to  study  in  the  upper  grades. 

FOURTH  GRADE 
To  illustrate: 

On  pages  46,  101,  136,  147  of  the  Fourth  Reader  are  found 
articles  consisting  of  but  one  or  two  paragraphs;  the  authors 
were  forced  to  select  a  title.     Is  it  a  good  title?     Why? 

Read  the  story  on  page  39,  '^Leif  the  Lucky". 

Read  the  entire  story  through  once,  thinking  about  problems 
suggested  at  the  beginning. 

Re-read  the  story  and  write  out  titles  for  each  paragraph. 

51 


LEIF  THE  LUCKY,  page  39 

1.  The  Norsemen  or  Northmen. 

2.  Their  country  and  why  they  left  it. 

3.  Eric  the  Red. 

4.  Eric  declared  an  outlaw. 

5.  Eric  settles  in  Greenland. 

6.  The  son,  Leif. 

7.  The  coming  of  the  Bjorni. 

8.  Leif  goes  to  unknown  lands  to  the  West. 

9.  '^Vinland'^  the  land  of  vines  and  wine. 
10.  Leif  returns  home. 

IL  Leif  called  "the  Lucky '^ 

12.  Other  voyagers  to  Vinland. 

13.  Voyages  to  North  America  cease. 

Make  successive  lessons  related  in  teaching  method.  Try 
this  same  scheme  with  some  different  material,  for  example,  a 
geography  textbook  or  some  article  of  civic  interest. 

The  problems  presented  in  the  following  articles  can  be  used 
to  develop  this  habit. 

PAGE 

Taking  Care  of  My  Property  and  Yours 27 

The  Red  Rubber  Ball 71 

Sir  Walter  Raleigh 86 

What  a  Library  Book  Said 98 

The  Little  Blue  Spool 100 

Samuel  de  Champlain , 137 

The  Red  Dress Ill 

Keeping  the  Doctor  Away 170 

Amber  Beads 209 

To  illustrate: 

AMBER  BEADS,  page  209 
This  selection  really  contains  two  stories.     Read  the  problem 
at  the  beginning  and  the  questions  at  the  end.     Then  close  your 
books  and  make  a  simple  outline  of  each  of  the  two  stories  or 
explanations. 

Something  similar  to  the  following  outline  might  be  developed 
after  a  discussion  of  the  various  summaries  made  by  the  children. 

52 


AMBER  BEADS,  page  209 

1.  What  science  says  of  the  making  of  amber: 

(a)  Sap,  or  resin,  from  pine  trees. 

(h)  Pine  trees  Hved  thousands  of  years  ago. 

(c)  Resin  buried  and  hardened. 

(d)  Fossils — hardened  vegetable  or  animal  matter. 

(e)  Insects  sometimes  caught  and  hardened  also. 

2.  What  an  old  story  tells  about  the  making  of  amber: 

(a)  Helios,  drove  the  chariot  of  the  sun. 

(6)   His  son,  Phaethon,  begged  to  drive  the  sun-chariot. 

1.  He  lost  control  of  the  horses. 

2.  He  fell  headlong  through  the  air. 

(c)  His  three  sisters  wept  for  him. 

(d)  Jupiter  turned  them  into  poplar  trees. 

1.  Their  tears  turned  into  drops  of  amber. 

2.  Their  tears  were  yellow  because  they  were  daughters 

of  the  sun-god. 

The  first  outline  ought  to  be  easy  for  the  children,  because  a 
description  of  how  something  is  made,  is  usually  readily  grasped. 
Therefore,  the  first  explanation  could  be  given  as  a  preliminary 
exercise.     The  outline  of  the  story  is  more  difficult. 

In  all  outlines  bring  out  the  following  points: 

1.  Does  the  outline  show  the  right  notion?  or 
Is  the  framework  of  the  house  well-built? 

2.  Does  the  outline  contain  everything  of  importance?  or 
Are  all  the  main  supports  built? 

3.  Are  all  the  little  facts  given  in  their  proper  order? 

4.  Do  not  make  the  outline  too  long.     Try  to  make  one 

good  heading  include  many  things. 
The  outline  of  the  longer  selections  such  as  "Samuel  de 
Champlain, '^onpage  137  and  "Leif  the  Lucky, "on page  39, should 
not  be  attempted  until  the  outline  habit  is  fully  developed  from 
shorter  articles. 

FIFTH  GRADE 
In  the  fifth  grade,  one  or  two    sub-headings  in  an   outline 
may  be  attempted,    The  greatest  importance  should  be  attached 

53 


to  the  habit  of  getting  the  one  big,  main  fact  from  each  paragraph 
or  thought  unit.  If  this  idea  is  well-drilled  by  careful  and  system- 
atic repetition  at  regular  intervals,  it  will  form  the  foundation  for 
the  development  of  outlines  and  clear  thinking  so  necessary  to 
study  in  the  upper  grades. 

After  the  child  has  formed  the  habit  of  getting  the  thought 
from  each  paragraph,  he  ought  to  attempt  to  organize  what  he 
has  read  from  several  paragraphs,  and  finally  to  draw  up  a  synopsis 
or  simple  outline  of  the  entire  article.  This  is  practical  training 
in  "how  to  study''  and  is  of  vast  importance  in  developing  the 
power  to  summarize,  so  necessary  in  the  higher  grades. 

The  following  outlines  may  help  the  teacher  to  supervise  the 
children's  work.  The  simplest  form  of  outline  by  paragraphs  or 
by  topics  should  become  a  habit  before  the  longer  selections  are 
attempted. 

To  illustrate  outlining  by  paragraphs: 

THE  BOY  ROOSEVELT,  page  234 

1.  Theodore  Roosevelt's  playmates. 

2.  The  boy  Roosevelt's  poor  health. 

3.  A  leader  among  the  children. 

4.  He  starts  to  make  his  body. 

5.  His  outdoor  life. 

A  STRANGE  TELEGRAPHIC   SYSTEM,  page  218 

1.  The  nervous  system: 

(a)  Made  up  of  brain  and  nerves. 

(b)  Gives  us  the  power  to  see,  hear,  feel,  taste,  smell,  think. 

2.  Nerves  of  feeling  (sensory) : 

(a)  Carry  messages  to  the  brain. 

(h)  Their  appearance — like  silvery  white  threads. 

(c)  Their  structure — strands  called  nerve  fibres. 

3.  Motor  nerves — bring  messages  from  the  brain. 

4.  Brain  cannot  command  nerves  properly: 

(a)  If  nerve  cells  have  too  much  to  do. 
(h)  If  they  are  not  properly  nourished, 
(c)  Pain  the  great  danger  signal. 

54 


READING  FOR  INSTRUCTION 

PAGE 

In  Front  of  the  Inn 2 

The  Training  of  a  Crusader 5 

Pigeons  in  War  Service 18 

Henry  Hudson,  the  Lost  Explorer 26 

How  TO  Make  a  Fire  in  the  Stove 109 

What  Shall  I  Read? 126 

The  Two    CharlemAgnes 146 

William  Penn,  the  Great  Quaker 171 

A  Strange  Telegraphic  System 218 

The  Boy  Roosevelt 234 


SIXTH  GRADE 

The  silent' reading  lessons  in  this  grade  should  train  the  pupils 
to  acquire  good  study  habits,  such  as: 

1.  Concentration. 

2.  Ability  to  distinguish  between  important  and  unim- 

portant facts. 

3.  Ability  to  read  rapidly  for  reference  reading. 
The  following  methods  are  suggestive : 

1.  During   the   first   reading   pupils   should   grasp   the 

selection  as  a  whole. 

2.  Have  pupils  re-read  selection  in  order  to  find  specific 

information  or  to  select  details  or  related  facts. 

3.  Let  pupils  determine  when  to  read  rapidly  and  when 

to  read  slowly. 

4.  Encourage  pupils  to  ask  each  other  thought  questions 

concerning  problems. 

5.  For  simple  outlining,  pupils  may  write  headings  for 

paragraphs.     (See  Manual,  page  — .) 

6.  For  brief  synopsis,    have   pupils   write  headings  for 

main  facts  in  the  selection  and  record  subordinate 
facts  in  their  proper  order. 

7.  Let  the  class  co-operate  in  making  long  outlines. 

8.  In  reference  work,  have  each  child  read  a  different 

selection  and  report  to  the  class  a  brief  synopsis. 
55 


9.  Encourage  pupils  to  read  and  discuss  current  events 

and  to  bring  clippings  into  the  classroom. 
10.  Encourage  written  reports  on  assigned  topics. 
To  illustrate : 

The  following  outlines  may  help  the  teacher  to  supervise  the 
children's  work.  The  simplest  form  of  outline  by  paragraphs  or 
by  topics  should  become  a  habit  before  the  longer  selections  are 
attempted. 

THE  GHOST  OF  TERRIBLE   TERRY,  page  198 

1.  The  letter  of  invitation  from  Terrible  Terry's  ghost. 

2.  The  Scouts  wait  anxiously  for  Hallowe'en. 

3.  Mr.  James's  brave  offer  and  his  party  on  Death- 

Rattle  Hill. 

4.  Mr.  James  tells  the  story  of  Terrible  Terry. 

5.  The  unexpected  appearance  of  Terrible  Terry's  ghost. 

THE  SAFEST   PLACE,  page  158 

1.  Stefan,  the  immigrant,  is  robbed  by  the  dishonest 

banker. 

2.  The  story  of  Stefan  and  the  friendly  young  man. 

3.  Stefan  and  Agatha  build  their  home  nest. 

4.  The  Good  God  shows  them  the  way. 

THE    GOOD    CITIZEN— HOW    HE    USES    MATCHES, 

page  236 

1.  Primitive  ways  of  striking  a  spark. 

2.  The  first  matches. 

3.  Why  matches  strike  a  spark. 

4.  Signs  of  a  poor  match. 

5.  Signs  of  a  good  match. 

6.  How  to  use  a  match. 

(a)  The  glow. 

(h)  Direction  in  striking. 

(c)  Spilled  matches. 

(d)  Receptacles  for  holding  them. 

56 


(e)   Carrying  matches. 
7.  Rules  to  be  observed: 
(a)  In  buying. 
(6)  In  using, 
(c)   In  carrying. 

THE   TRAINING   OF  A  BOY   KING,  page  97 

1.  The  birth  of  the  royal  prince. 

2.  The  baptism. 

3.  His  infancy. 

4.  His  early  childhood. 

5.  His  education. 

6.  The  death  of  the  king,  his  father. 

7.  The  coronation  of  the  boy  king. 

8.  His  two  guardians  and  their  ambitions. 

9.  The  execution  of  Seymour — The  ingratitude  of  the 

boy  king. 

10.  His  flight  to  Windsor. 

11.  The  execution  of  Somerset — The  hard  heart  of  the 

boy  king. 

12.  The  death  of  the  boy  king. 

WHAT  THE  EARLIEST  MEN  DID   FOR  US,  page  124 

1.  What  history  is  and  how  we  know  of  it. 

2.  Life  in  the  earliest  days. 

3.  Man's  necessities. 

4.  The  wonderful  invention. 

5.  The  "pastoral"  or  shepherd  life. 

6.  The  great  discovery. 

7.  The  "settled"  life — Permanent  homee. 

8.  Clothing  in  earliest  days. 

9.  The  first  manufacturing. 

10.  Inventions — tools,  weapons,  utensils. 

11.  The  stone  age — old  and  new. 

12.  Another  great  discovery. 

13.  Women's  work  in  earliest  times. 

57 


14.  Beasts  of  burden. 

15.  Food  for  the  children  in  earliest  days. 

16.  The  family — the  clan. 

17.  Property,  a  new  idea. 

18.  Ornaments,  a  new  use  for  metals. 

19.  Development  of  religion. 

STORIES  TO  OUTLINE 

PAGE 

The  Eskimo 2 

Scottish  Border  Warfare 9 

An  Indian  Buffalo  Hunt 68 

Indian  Life  and  Customs 76 

Opening  the  Great  West 90 

The  Training  of  a  Boy  King 97 

What  the  Earliest  Men  Did  for  Us. 124 

Heroes    of    History 139 

The  Safest  Place 158 

The  Ghost  of  Terrible  Terry 198 

The  Fight  with  the  Sea 207 

The  Good  Citizen — How  He  Uses  Matches 236 

THE  USE  OF  THE  TEXTBOOK 
Every  teacher  should  use  all  the  means  in  his  power  to  develop 
in  the  pupil  an  interest  in  the  textbook  as  a  source  of  knowledge. 
And  the  textbook  material  should  be  such  that  it  is  within  the 
comprehension  of  the  child.  Many  textbooks  are  too  technical 
or  too  difficult  for  silent  reading  material.  Silent  reading  methods 
help  the  pupil  to  attack  subject  matter  boldly  and  to  organize  the 
knowledge  the  book  contains.  The  following  suggestions  are 
planned  to  aid  the  pupil  in  a  better  understanding  of  the  organ- 
ization of  a  textbook,  its  use,  and  the  necessity  for  several  reference 
books 

1.  The  new  textbook.     Note  title,  author,  publisher,  date 

of  publication,  special  features  of  the  book,  illus- 
trations, general  arrangement  of  material.  This 
survey  should  take  but  a  few  minutes. 

2.  Read  the  preface;    why  is  it  needed?     What  is  the 

author's  point  of  view? 
58 


3.  The  Table  of  Contents;  why  is  it  placed  in  the  front 

of  the  book? 

4.  Read  the  titles  of  the  Chapters.     How  to  select  that 

part  of  the  book  which  deals  with  your  subject  or 
topic.     Challenge  and  note  headings  and  titles. 

5.  The  Index,  the  pronouncing  list,  etc.     How  to  use 

them. 

6.  Summarizing     paragraphs,     pages,     or    sections     of 

material. 

7.  Selecting  isolated  detail. 

8.  Referring  to  other  textbooks.      Reporting  by  com- 

mittees to  the  class. 
Why  is  it  important  to  refer  to  other  books? 

READING  FOR  INSTRUCTION 

PAGE 

Rules  for  Using  the  Eyes 37 

What  a  Chimney  Is 61 

How  TO  Make  a  Sun  Dial 65 

The  Mole  Awakens 117 

Unpatriotic    Carelessness 167 

Agriculture 210 

The  Battle  of  Morgarten 213 

The  Boyhood  of  a  Painter , , ,  . , 279 


59 


READING  FOR  INFORMATION 

Fourth,  Fifth,  Sixth  Readers 
Explanation. 

(a)  We  frequently  seek  information  about  persons,  places,  and 
things  and  we  turn  to  newspapers,  books  of  reference,  encyclo- 
pedias for  the  bit  of  information  sought.  On  the  other  hand, 
information  may  be  thrust  upon  us  by  means  of  notices  posted  in 
windows,  advertisements  on  fences  and  in  trolley  cars,  signs  on 
roads  and  streets. 

Unless  directed  to  do  so,  a  child  seldom  seeks  information; 
often  he  is  discouraged  by  a  mass  of  material.  He  can  be  taught, 
however,  how  to  search  for  information  in  simple  selections. 
Every  fourth  and  fifth  year  child,  for  instance,  will  want  to 
know  who  Edison  is.  There  are  many  children's  books  which 
give  this  information  in  a  simple  manner;  but  even  so,  the  child 
should  not  plod  through  the  whole  article  to  find  a  few  facts.  He 
must  have  directed  drill  in  selecting  informational  facts.  If  it  is 
desirable  ^Ho  learn''  more  about  Edison,  his  work,  and  his  life, 
then  the  child  must  read  and  summarize  the  thought-content, 
but  in  so  doing,  he  is  reading  for  instruction  rather  than  for  mere 
information. 

There  is  a  nice  distinction  between  reading  for  information 
and  reading  for  instruction.  In  the  fourth  and  fifth  grades  this  in- 
formational reading  consists  principally  in  getting  facts  from  signs, 
signals,  and  perhaps  headings  of  newspapers,  and  titles  of  books 
or  pictures.  Children  should  be  trained  to  read  road  signs  and 
other  signs  of  information,  inteUigently.  They  inquire  constantly 
the  meaning  of  signs  that  they  encounter  on  the  streets.  For 
civic  reasons,  as  well  as  for  other  informational  purposes,  they 
should  know  what  the  signs  in  their  community  mean. 

Children  in  the  sixth  grade  need  practice  in  grasping  the 

60 


real  sense  of  newspaper  headings  and  of  the  columns  which  follow. 
A  discussion  of  current  events  from  newspapers,  magazines, 
bulletin  boards  will  help  the  pupils  to  trace  quickly  and  accurately 
a  particular  fact  and  to  weigh  its  value. 

Material. 

(h)  Simple  articles  of  reference,  newspapers,  books  of  knowl- 
edge, encyclopedia,  advertisements;  notices  posted  on  roads  and 
streets,  in  windows,  in  cars. 

Procedure. 

(c)  1.  Read  silently  and  quickly. 

2.  Seek  answer  to  questions  or  problem,  sometimes  with- 

out reading  whole  account. 

3.  Report  information  to  the  class  either  individually  or 

by  a  committee. 

Suggestions  as  to  Method. 

FouETH  Grade 
To  illustrate: 

Who  was  Florence  Nightingale?     Turn  to  page  173. 

Glance  at  the  first  sentence  and  as  soon  as  you  can  tell  us  raise 
your  hand. 

John:  Florence  Nightingale  was  a  brave  English  woman. 
She  was  the  first  army  nurse  in  the  time  of  war. 

To  illustrate : 

Print  a  series  of  signs  similar  to  those  used  in  the  community: 

Danger!     Curve  Ahead! 

Danger!     Go  Slow! 

Stop,  Look,  Listen. 

Trespassing  Forbidden. 

Heavy  Vehicles  not  Allowed  on  This  Driveway. 

West  Mermaid  Ave.,  etc. 
In  Post  Office: 

General  Delivery. 

61 


Parcel  Post. 

Registered  Letters. 

Money  Orders. 

Hours  of  Collection. 
Flash  a  single  card  before  the  child  and  ask  him  to  interpret 
the  words  orally  or  go  to  the  board  and  write  what  the  sign  said. 
Discuss  the  idea  suggested  by  the  words.     This  should  be  a  rapid 
drill  exercise. 
To  illustrate: 

The  teacher  can  write  numerous  directions  on  the  board  one 
at  a  time,  and  the  children,  without  uttering  a  word,  will  do  what 
the  words  say.     For  instance,  the  teacher  writes : 

Put  everything  off  your  desk.     (Erase.) 

Girls  rise  and  form  a  straight  line  along  side  wall  facing 
the  door.     (Erase.) 

Mary  is  the  leader.     (Erase.) 

Boys  rise  and  form  along  opposite  wall.     (Erase.) 

Let  us  play  a  game. 
Then  directions  for  a  game  or  for  a  few  gymnastic  exercises 
or  for  marching  may  be  written.  This  same  idea  works  well  in  a 
geography  lesson.  If  children  are  working  in  map  building  in 
clay,  all  directions  and  information  necessary  for  them  may  be 
written  on  board  and  erased  as  soon  as  the  action  is  carried  out. 

Here  are  some  questions  of  interest  to  fourth  grade  children. 
See  if  they  are  able  to  get  the  facts  from  the  Readers.  The  Table 
of  Contents  will  help  them  to  find  the  correct  pages  containing  the 
information  sought. 

Where  do  we  get  real  silk? 

What  is  artificial  silk? 

What  are  by-products? 

Of  what  use  are  they? 

Why  was  Robert  Louis  Stevenson  called  a  "Good  Fair}^"? 

Did  Queen  Victoria  like  music  lessons? 

How  did  Edison  get  his  start? 

How  is  paper  made? 

62 


Fifth  Grade 

To  illustrate: 

The  following  signs  are  more  difficult  than  those  listed  in  the 
fourth  grade;  they  carry  valuable  information  for  the  children. 
Flash  a  single  card  or  sign  before  the  child  and  ask  him  to  interpret 
the  words. 

Local  and  Long  Distance  Telephone  (Bell  System). 

Telegraph  Company. 

Municipal  Light  and  Power  Co 

Antique  Furniture. 

Cleansing  and  Dyeing. 

Opticians. 

Groceries  and  Provisions. 

Tires,  Tubes  and  Accessories. 

Pharmacist. 

Druggist. 

Prescriptions. 

Restaurant. 

Cream  Pasteurized. 

Subway  Exit. 

Cape  Cottage  via  Robert's  Road. 

Trespassers  Will  Be  Prosecuted. 

Private  Propert3^ 

Positively  no  Admittance. 

No  Trespassing. 

Safety  Zone.     Traffic  Move  Slowly. 
To  illustrate : 

Here  are  some  questions  of  interest  to  fifth  grade  children. 
See  if  they  are  able  to  get  facts  from  the  Readers.  The  Table  of 
Contents  will  help  them  to  find  the  correct  pages  containing  the 
necessary  information. 

Your  book  mentions  "America's  Wasteful  Habit ''.  What 
is  it? 

Do  other  countries  have  this  wasteful  habit? 

Whom  can  you  blame  for  our  country's  jBre  loss? 
63 


Why  was  the  author  of  ''Alice  in  Wonderland'^  called 
Lewis  Carroll? 
Other  readings  for  information : 

PAGE 

How  Stevenson  "  Made  Believe  " 77 

Our  Country's  Fire  Loss 188 

How  Gladstone  Obeyed  His  Father 203 

Sixth  Grade 
To  illustrate: 

Sixth  grade  pupils  need  practice  in  the  rapid  and  intelligent 
reading  of  news  articles.  They  should  be  led  to  understand  the 
useless  reading  of  every  word  in  a  newspaper  and  that  a  more 
economical  and  wiser  method  is  to  skim  or  to  scan  the  column  of 
words  and  seize  upon  the  valuable  ideas  or  statements.  This  is 
not  easy  for  children  and  requires  much  practice.  To  gather 
quickly  from  a  news  column  the  real  sense  of  a  catchy  headline 
requires  skill  in  silent  reading. 
For  drill  exercise: 

PAGE 

General  Pershing's  Welcome  Home 299 

Othei'  Readings  for  Information: 

PAGE 

Bristol 16 

The  Desert  Indians  ''Fire  Bed".     (What  is  it?) 105 

Some  Patriotic  Mine  Workers.     (Why  are  they  called  "Patriotic?")  Ill 

Making  Money  Earn  Money 138 

What  is  a  Boy  Scout? 256 

Civil  Death.     (What  does  this  mean?) 277 


64 


SUPPLEMENTARY  MATERIAL 

Fourth,  Fifth  and  Sixth  Readers 

Testing  Ability  to  Follow  Directions.  Speed  and  comprehension 
are  tested  by  means  of  problems,  puzzles,  lists,  classifications, 
mixed  sentences ;  and  the  ability  of  the  pupil  to  follow  the  directions 
given  for  the  solving  of  these  problems  is  developed. 

The  value  of  these  exercises  consists  chiefly  in  the  reading  and 
understanding  of  the  directions,  not  in  the  doing  of  the  exercises. 

To  make  these  exercises  worth  while,  some  record  should  be 
made  of  results.  The  children  will  enjoy  these;  they  will  put  forth 
real  individual  effort  and  feel  the  necessity  for  a  careful  reading 
and  following  of  the  directions  given. 

The  teacher  should  arrange  the  score  of  number  of  problems 
answered  correctly,  in  order,  with  the  highest  score  at  the  top  and 
the  lowest  score  at  the  bottom. 

Problems 

1.  Joe  answered  correctly 

2.  William      "  "        

3.  Mary 

4.  Jane  "  "        

5.  Sue  "  ''        

6.  Ann  "  ''        

7.  Rudolph    "  "        

8.  Kenneth    "  "        .' 

9.  Bruce         "  "        

10.  Morgan      "  ''        

11.  Edmund    "  ''        

12.  Sarah         ''  "        

13.  Eugene      "  "        

14.  Elizabeth  "  "       

15.  Russell       ''  "        

16.  Mary  ''  "        

17.  Theodore  ''  "        

18.  Margaret  '*  "        

19.  Elliott        ''  "        

20.  Alice  "  "        

21.  Jane  "  "        


►  Upper  Third 


9 

8 
8 
8 
7 
7 

7l 

6 

6 

6  \  Middle  Third 

6 

6 

^ 

5| 

5| 

4  \  Lower  Third 

4 

3 

2 


65 


Out  of  this  class  of  21  pupils  the  number  of  answers  correct 
occurring  the  largest  number  of  times  is  ^^6",  or  the  middle  score 
in  this  article  is  ^'6'\  The  pupils  should  observe  their  position 
in  this  list: 

Are  you  in  the  upper  third? 
Are  you  in  the  lower  third? 
Are  you  in  the  middle  third? 
Those  in  the  upper  third  must  try  to  remain  there,  the  others 
to  work  up. 

List  pupils  according  to  speed  in  the  same  way  and  find  the 
median  number  of  minutes  it  took  to  work  out  this  problem  (see 
Introduction  in  the  Reader.) 

What  do  you  men  by  "speed"  in  reading?  To  lead  the  child 
to  understand,  talk  about  speed  of  an  airship,  an  automobile,  a 
typist,  a  stenographer. 

Do  they  have  the  same  speed? 
Why  do  we  wish  to  increase  our  speed  in  reading? 
Shall  we  ever  all  read. the  same? 
Why  is  it  worth  while  to  try  to  be  faster? 
The  only  significant  comparison  is  between  individuals  of  the 
class  and  their  relative   standing.      The   slow  need   individual 
attention,  special  help  and  training.     After  they  have  received 
such  help  for  an  extended  period,  do  they  show  any  improvement? 
The  placing  of  these  tables  on  the  board  should  take  but  a  few 
moments;   call  for  highest  scores,  and  by  the  raising  of  hand,  get 
quickly  from  the  children  the  rating.     If  this  is  systematically 
carried  out  at  the  close  of  each  problem  excerise,  the  children  will 
understand  the  procedure  and  after  the  first  explanation  will 
comprehend  the  aimandresultof  theseexercisesaswellasthescoring. 
Incidentally,  you  will  find  that  they  will  take  the  greatest 
interest  in  this  kind  of  work. 

There  are  many  such  exercises  in  the  Readers;  they  should 
be  distributed  throughout  the  work  and  occur  at  more  or  less 
regular  intervals  throughout  the  term.  After  the  pupils  under- 
stand the  scheme  of  some  of  these  problems,  let  them  try  to  devise 
similar  tests. 

66 


LIST    OF   PROBLEMS   TO   TEACH   PUPIL   TO    FOLLOW     i 
DIRECTIONS  CAREFULLY 
FOURTH  READER 

PAGB 

The  Most  Precious  Metal 6 

Clear  Thinking 13 

Classifications 47 

Clear  Thinking 70 

Problems  in  Understanding 77 

Putting  Things  in  their  Places 91 

Questions  of  Fact 99 

Mixed  Sentences 104 

True  or  False 106 

Two  Problems 109 

Comparisons 160 

Correcting  Lists 164 

Are  You  Quick  to  Understand? 174 

Clear  Thinking 208 

Opposites 215 

Mixed  Sentences 240 

Longer  Lists 241 

Words  Out  of  Place 255 

FIFTH   READER 

Clear  Thinking 16 

Mixed  Classification 34 

How  Well  Can  You  Think? 47 

Can  You  Do  this  One? 74 

Good  Thinking 78 

Mixed  Classification 88 

Classification  Drill 94 

Do  You  Think  Clearly? 106 

Opposites Ill 

Answer  Quickly 124 

Clear  Thinking 125 

Obey  Orders 129 

Can  You  Follow  Directions? 138 

Thrift  Problems 143 

Can  You  Understand  Relationships? 154 

Nonsense  Test 168 

A  Test  of  Understanding 169 

Longer  Lists 178 

Another  Nonsense  Test 190 

67 


PAGE 

Finding  Opposites 191 

Mixed  Sentences 212 

How  Well  Can  You  Think? 217 

Distributing  Words 230 

Yes  or  No? 233 

A  Test  of  Good  Thinking 287 

SIXTH   READER 

Can  You  Follow  Directions? 29 

Clear  Thinking 40 

Nonsense  Test 56 

Turning  Out  the  Intruder 57 

Is  It  True? 62 

Yes  or  No? 64 

Putting  Words  Where  They  Belong 67 

Can   You  Understand   Rela^tionship? 89 

Turning  Out  the  Intruder 96 

Adding  the  Right  Words 104 

Yes  or  No? 105 

Try  This 136 

Putting  Words  Where  They  Belong 137 

Finding  Opposites 187 

Tangled  Sentences 191 

Can  You  Do  this  One? 215 

Finding  Opposites 222 

Thinking 255 

Which  is  Right? 288 

Another  Nonsense   Test 296 

Can  You  Understand  Relationship? 297 

Thinking  and  Doing 312 

INDEX  TO  CONTENTS  OF  THE  READERS 
FOURTH  READER 

Acting  for  the  Movies 25 

Amber  Beads Mabel  Dodge  Holmes  209 

Are  You  Quick  to  Understand? 174 

Artificial  Silk 5 

Bed  in  Summer Robert  Louis  Stevenson  149 

Block  City Robert  Louis  Stevenson     92 

Brave  Little  Frenchman,  A 204 

Butterfly  Who  Made  the  Flowers  Happy,  The 134 

By-Products 46 

68 


PAGE 

Can  You  Act? 114 

Classification 47 

Clear  Thinking 13 

Clear  Thinking 70 

Clear  Thinking 208 

Cock-Alu  and  Hen-Alie 15 

Comparisons 160 

Correcting  Lists 164 

Debt,  The Catha  Wells      2 

Discontented  Cloud,  The 145 

Finding  Treasure F.  J.  Gould  150 

Fountain  Angel,  The Fanny  Barry  198 

Friends  in  Misfortune Charlotte  M.  Yonge  189 

Giant's  New  Year,  The 48 

Goat,  the  Lion,  the  Leopard,  and  the  Hyena,  The  . .  .J.  E.  Macnair    31 

Great  White  Feather,  The 62 

Hare  and  the  Tortoise,  The 105 

Hayloft,  The Robert  Louis  Stevenson  103 

House  Where  Goldilocks  Visited  the  Bears,  The 110 

How  Edison  Got  His  Start 136 

How  Joseph's  Dream  Came  True 227 

How  the  World  Came  to  an  End F.  J.  Gould  161 

Jack  O'Lantern Anna  C.  Ayer    60 

Joseph  in  Prison , 221 

Keeping  the  Doctor  Away Amy  B.  Barnard  170 

Learning  to  Read  Silently 1 

Leif  the  Lucky Albert  Lindsay  Rowland     39 

Little  Blue  Spool,  The 100 

Little  Maid  of  Norway,  The 165 

Little  Nurse,  A 173 

Little  Flays 148 

Little  Soldier  of  France,  A 7 

Longer  Lists 241 

Lost  Brother  Found,  A 233 

Mixed  Sentences 104 

Mixed  Sentences 240 

Molly  Meets  the  Unwiseman John  Kendrick  Bongs  122 

MoMOTARo's  Friends John  Simmons  116 

Most  Precious  Metal,  The 6 

Mother  Goose  Problem,  A 153 

Open  Gate,  The Maud  Lindsay    79 

Opposites  .,,,,,,.., , ,  215 

69 


PAGE 

Paper  Making 147 

Picture  Books  in  Winter Robert  Louis  Stevenson    85 

Poker  Tells  His  Story,  The 242 

Problems  in  Understanding 77 

Putting  Things  in  Their  Places 91 

Queen  and  a  Music  Lesson,  A 101 

Questions  of  Fact 99 

Red  Dress,  The Ill 

Red  Rubber  Ball,  The Nancy  Byrd  Turner    71 

Samuel  De  Champlain Albert  Lindsay  Rowland  137 

Seeing  Things Amy  B.  Barnard  107 

Singing Robert  Louis  Stevenson  115 

Sir  Walter  Raleigh Albert  Lindsay  Rowland  86 

Spider  and  the  Lion,  The J.  E.  Macnair  154 

Stevenson  Was  the  Good  Fairy 93 

Stolen  Honey,  The John  Clair  Minot    94 

Story  of  Joseph,  The Jesse  Lyman  Hurlbut  216 

Sun's  Travels,  The Robert  Louis  Stevenson     14 

Taking  Care  of  My  Property  and  Yours Mabel  Dodge  Holmes    27 

Tale  the  Zebras  Tell,  The Nancy  Lord  119 

Three  Swords,  The 175 

Tom's  Trip  on  a  Dream  Cloud John  Kendrick  Bangs  242 

True  or  False 106 

Two  Problems 109 

What  a  Library  Book  Said 98 

Why  the  Moon  Changes 74 

Wind,  The Robert  Louis  Stevenson  121 

Words  Out  of  Place 255 

FIFTH  READER 

Acting  for  the  Movies 12 

America's  Wasteful  Habit 6 

Another  Nonsense  Test 190 

Answer  Quickly 124 

Baby  Who  Was  Found  in  the  River,  The Jesse  Ijyman  Hurlbut  259 

Beyond  the  Gap 80 

Boy  Roosevelt,  The William  Draper  Lewis  234 

Can  You  Act? 198 

Can  You  Do  This  One? 74 

Can  You  Follow  Directions? 138 

Can  You  Play  a  Part? 130 

Can  You  Understand  Relationships? 154 

70 


PAGE 

Checker  Board  Dress,  The 205 

Children's  Hour,  The Henry  Wadsworth  Longfellow  144 

Classification  Drill. 94 

Clear  Thinking 16 

Clear  Thinking 125 

Clock,  The Alice  Van  Leer  Carrick  15 

Distributing  Words 230 

Do  You  Think  Clearly? 106 

Farewell  to  the  Farm Robert  Louis  Stevenson  35 

Finding  Opposites 191 

Fire-Flies  in  Japan 84 

First  Fire  Users,  The F.  J.  Gould  280 

Fox  AND  THE  CoCK,  ThE 213 

Garden  that  Jack  Made,  The 17 

George  Washington  and  the  Colt 72 

Gerry  of  the  Signal  Corps Eleanor  Fairchild  Pease  207 

Golden  Bird,  The 115 

Good  Thinking 78 

Grapevine  Swing,  The Samuel  Minturn  Peck  192 

Henry  Hudson,  the  Lost  Explorer Albert  Lindsay  Rowland    26 

Home  of  the  Dwarfs,  The 11 

How  a  Town  Was  Saved  by  a  Clock Olive  A.  Smith    36 

How  Gladstone  Obeyed  His  Father 203 

How  the  Lilies  Came  to  France Mary  Stewart    22 

How  Stevenson  "  Made  Believe  " 77 

How  TO  Make  a  Fire  in  the  Stove 109 

How  Well  Can  You  Think? 47 

How  Well  Can  You  Think? 217 

Hut  in  the  Forest,  The Arthur  Ransome  237 

In  Front  of  the  Inn 2 

It  Takes  Two  to  Make  a  Quarrel 107 

King  and  the  Heartsease,  The Mabel  Dodge  Holmes  231 

Land  of  Story  Books,  The Robert  Louis  Stevenson    75 

Lincoln  Carried  Her  Trunk 33 

Little  Master  Misery 241 

Little  Story  About  Some  Little  People,  A f 

Longer  Lists 187 

Lost  in  the  Woods John  Clair  Minot    38 

Mixed  Classification 34 

Mixed  Classification 88 

Mixed  Sentences 212 

Mollie  Pays  a  Visit  to  the  Unwiseman John  Kendrick  Bangs    95 

71 


PAGE 

Mountain  that  Smoked,  The 277 

Nonsense  Test 168 

Obey  Orders 129 

Opposites Ill 

Our  Country's  Fire  Loss 188 

Path  Through  the  Sea  and  the  Bread  prom  the  Sky,  The 274 

People  of  the  Desert's  Edge J .  Russell  Smith  156 

Pets  of  Aurore  Dupin,  The Andrew  Lang  283 

Pigeons  in  War  Service 18 

Pilgrim  and  the  Hyena,  The J.  E.  Macnair  221 

Plagues  of  Egypt,  The Jesse  Lyman  Hurlhut  266 

RosE-BuD 134 

Smallest  Soldier  of  All,  The 132 

Song  of  the  Greenwood,  A 42 

St.  Francis  and  the  Wolf 89 

Strange  Telegraphic  System,  A Amy  B.  Barnard  218 

Test  of  Good  Thinking,  A 287 

Test  of  Understanding,  A 169 

Thrift  Problems 143 

Thrifty  Beaver,  The 139 

Tom's  Trip  to  the  Moon John  Kendrick  Bangs    49 

Training  of  a  Crusader,  The 5 

Two  Charlemagnes,  The William  Canton  146 

Two  Dolls,  The F.J.  Gould  226 

Two  Maidens,  the  Gawo-Tree,  and  the  Lizard,  The 164 

Voice  from  the  Burning  Bush,  The Jesse  Lyman  Hurlhut  262 

What  Shall  I  Read? Amy  B.  Barnard  126 

Why  He  was  Called  " Lewis  Carroll" 206 

Why  the  Butterfly's  Wings  are  Painted Mabel  Dodge  Holmes  112 

Why  the  Spider  Spins Mabel  Dodge  Holmes  195 

Why  the  Squirrel  Saved  for  the  Future 200 

Why  the  Town  Hall  Fell F.J.  Gould    43 

William  Penn,  the  Great  Quaker Albert  Lindsay  Rowland  171 

Yes  or  No? 233 

SIXTH  READER 

Acting  for  the  Movies 38 

Acting  for  the  Movies 156 

Adding  the  Right  Words 104 

Adding  the  Right  Words 235 

Agriculture 210 

Another  Nonsense  Test 296 

Battle  of  Morgarten,  The John  Finnemore  219 

72 


PAGE 

Bear's  Night,  The 228 

Boyhood  of  a  Painter,  The Andrew  Lang  273 

Bristol 16 

Broken  Flower-Pot,  The Bulwer-Lytton     46 

Caliph  for  One  Day 170 

Can  You  Do  this  One? 215 

Can  You  Follow  Directions? 29 

Can  You  Understand  Relationship? 89 

Can  You  Understand  Relationship? 297 

Charades 298 

Chinese  New  Year's  Day,  The Lena  E.  Johnston  232 

Civil  Death 277 

Clear  Thinking 40 

Count  and  the  Robbers,  The Beatrix  Jungman  119 

Desert  Indian's  Fire  Bed,  The 105 

Eskimo J.  Russell  Smith      2 

Fairies  on  the  Gump,  The , Mabel  Quiller-Couch  303 

Father  Domino 112 

Feeding  French  Children 30 

Fight  with  the  Sea,  The Beatrix  Jungman  207 

Finding  Opposites 187 

Finding  Opposites 222 

First  Potter,  The Hanford  M.  Burr  180 

Fire  Spirit,  The Hanford  M.  Burr  259 

Franklin  Writes  for  the  Newspaper 63 

General  Pershing's  Welcome  Home 299 

Genevieve's  Letter 34 

Ghost  of  Terrible  Terry,  The 198 

Good  Citizen,  The — How  He  Uses  Matches 236 

Good  Giant  Wins  His  Fortune,  The 116 

Happy  Prince,  The Oscar  Wilde     19 

Heroes  of  History Mabel  Dodge  Holmes  139 

How  Sella  Lost  Her  Slippers Mabel  Dodge  Holmes  192 

How  THE  Wish  Came  True 36 

How  TO  Make  a  Sun  Dial 65 

Inchcape  Rock,  The Robert  Southey  216 

Indian  Buffalo  Hunt,  An 68 

Indian  Life  and  Customs 76 

Is  It  the   Same  Bear? 231 

Is  It  True? 62 

It's  Quite  True Hans  Christian  Andersen  188 

Land  of  Equal  Chance,  The ^1 

Magic  Horse,  The 243 

73 


PAGE 

Making  Money  Earn  Money 138 

Memory  Test,  A 169 

Mole  Awakens,  The S.  C.  Schmucker  117 

New  Wonderland,  The Mabel  Dodge  Holmes     11 

Noblesse  Oblige 242 

Nonsense  Test 56 

On  the  Frontier 18 

Opening  the  Great  West 90 

Otelne,  the  Indian  of  the  Great  North  Woods.  . ./.  Russell  Smith  278 

PiETRo's  Adventure John  Clair  Minot  106 

Putting  Words  Where  They  Belong 67 

Putting  Words  Where  They  Belong 137 

Roast  Chicken 203 

Roosevelt's  Favorite  Study William  Draper  Lewis     58 

Rules  for  Using  the  Eyes 37 

Safest  Place,  The Casimir  A.  Sienkiewicz  158 

Saint  George  and  the  Dragon 51 

Scottish  Border  Warfare Elizabeth  Grierson      9 

Scout  and  the  Knight,  The 258 

Silent  Reading 1 

Skeleton  in  Armor,  The Henry  Wadsworth  Longfellow  149 

Some  Definitions 218 

Some  Patriotic  Mine  Workers Ill 

''  Some  Ugly  Old  Lawyer" 103 

Tangled  Sentences 191 

Thinking 255 

Thinking  and  Doing 312 

Training  of  a  Boy  King,  The H.  E.  Marshall    97 

Travel Robert  Louis  Stevenson    35 

Trip  to  the  Moon,  A Charles  R.  Gibson  313 

Try  This 136 

Turning  Out  the  Intruder 57 

Turning  Out  the  Intruder 96 

Unpatriotic  Carelessness 167 

''Verdun  Belle" 290 

What  a  Chimney  Is 61 

What  is  a  Boy  Scout? 256 

What  Mekolka  Knows 223 

What  the  Earliest  Men  Did  for  Us Smith  Burnham  124 

Which  is  Right? 288 

Why  the  Echo  Answers Mabel  Dodge  Holmes  204 

Yes  or  No? 64 

Yes  or  No? 105 

74 


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